Geoff

Well, I tried Norma tonight. And given the ongoing discussion about the ENO, I wanted, really wanted, to accentuate the positive. Yes, I find my spirits lift when I go in (the refresh they did a few years ago has helped the atmosphere). I like the mixed and relaxed and often quite young crowd (though perhaps not the massed ranks of Radio4 types, although they are probably the core audience who keep the ENO going so forget I said that, particularly if you are offended, I don't mean you, of course). The cheery staff are a big plus (compared to ROH ushers who too often manage to be high-handed at the same time as inept - squeaky shoes, cloth-eared choices about when to move about, often during the quietest passages etc) And the easy-going bringing in of drinks is a happy policy which disturbs not at all (compared to chatting, rustling, texting, coughing etc etc) Can't help but love Matcham's masterpiece, an auditorium so over the top it isn't vulgar, just fun and gorgeous. And how nice to be able to get a perfectly good seat, with fine sightlines and excellent acoustics, on a whim on the day of the performance, for £20. So - all was set pretty. But the Norma was off sick - which can happen anywhere but there was no warning on Twitter or whatever - and sadly the cover was not a match for the Adalgisa (the tenor the usual ENO not-quite-up-to-the-role voice). The production - for a "bad" production, or so friends and some critics suggested - was actually rather tasteful and well done, or at least what I saw of it as I left at the interval, as so often at ENO these days. It was wonderfully conducted, but having heard Gruberova and Garanca in this work, Bellini's limited orchestral invention was not enough to hold me for the night. Sorry all round. If the real Norma returns, I might give this another go, as I have been told good things about her voice.

Well, here is my view, for what it's worth. I used to go to ENO all the time (as well as ROH) when it was Pountney-Elder. Postmodern directors tropes were fresher then, or better, or I was simply younger and had seen less, in any case I had many a happy evening. The theatricality was often exciting compared with ROH park-and-bark, the chorus a belting glory and sometimes the band were the best in town. I remember, randomly, a wonderful War And Peace, some sensationally exciting Verdis I saw again and again (Macbeth, Simon B to name just two) and of course I was seduced by the charms of Jonathan Miller's productions (Rigoletto, Mikado). The repertoire was bigger than ROH (Busoni, anyone?) so often worth going just to learn. Not near my programmes at the moment but I must have seen dozens of different shows over the years. Then we moved abroad and by the time I returned to London ENO seemed to have become something of a self-parody. Many times the productions seemed not original, or daring, or exciting but simply bad, in some cases not even competent, the chorus still doing well but the conducting much less reliable. Increasingly I would leave at the first interval. The last time I saw a show again and again was the final run of Nikolaus Lehnhoff's Parsifal, as wonderfully conducted as I have ever heard anywhere in the world (by the wonderful new music director appointment, not everything ENO has done recently is bad, Mark Wigglesworth). One hears stories about a weak board and lousy management and goodness knows what else. Now we are invited to campaign, but exactly what for I am not sure (this fight over the chorus terms and conditions is surely a proxy for much else as well, on all sides of the argument). I am older now and less interested in dodgy shows by young directors, badly sung and boring to listen to - so I am against that. And many works go much better in the original language, the political point seemingly now outdated. I have not applied for the vacant post of artistic director and wish whoever is appointed great wisdom, better bosses, new resources, much inspiration - and a little bit of luck.

Anybody see this last night? Here is an early online review:- https://operabritanniauk.wordpress.com/2016/02/18/bellini-norma-english-national-opera-17th-february-2016/

I agree with just about everything in this post by nycitybird and indeed with just about everything everyone has said so far about the triple bill as a whole and Strapless in particular. But this comment? Carmen was (is?) a vanity project gifted to a well loved amateur which ended up truly head-in-the-hands awful, barely even competent (though not perhaps without a possible future in front of undemanding fans in more commercial settings, once perhaps cut back by a professional producer). Strapless on the other hand is a new work by an established choreographer of considerable talent which doesn't (yet?) come off, perhaps because it needs revising (which it may get) or developing (ditto), although the music may always hold it back. My hunch is that for whatever reason Wheeldon didn't get the rehearsal time he needed (I have no inside knowledge, this is really only a hunch). Off the point, may I add that the After The Rain pdd was one of the great ballet experiences of my life (and I had forgotten they are now divorced, so was not influenced by extraneous factors). Hope these two have this performance immortalised asap.

After a quick check it seems the instant Twitter reactions seem more negative about Strapless than positive (boring, not enough dancing, nasty quip from Luke Jennings). Here is one example:- sandra (@bicoated) 12/02/2016, 22:49 I once saw a film about 2 French lesbians eating a bag of sugar. That was marginally more interesting than #ROHStrapless #WasteOfCast

Funnily enough I wasn't Alison - but not for any obvious reason (nor am I psychic). I went to the dress rehearsal yesterday (and will keep my mouth shut until the show has opened tonight, and probably also until I have seen it again as well) As everyone knows this ballet has been built around Osipova, who is now guesting at the Bolshoi. And very late last night I caught this note on Twitter from Ismene Brown:- >>12/02/2016, 02:41 Bolshoi anno on eve of @wheeldondance's new Strapless @TheRoyalBallet tt they'll acquire it in Moscow in 2017. Presume Osipova's influence. As RB didn't announce until today, which seems very late, one can't help speculating that the "co-production" was only decided on after someone from the Bolshoi checked out the dress rehearsal. But no idea of any facts, just a guess.

Thanks Alison. Apologies, I was actually being a bit colloquial (I meant what, rather than who or which company which is anyway on the website, was behind the screenings) - the whole thing looked a bit of a poor deal shuffled together clumsily by a small or disinterested distributor, and so one wondered what was going on, that's all. Sorry for being unclear, I was just puzzled by the offer.

Indeed! Back in October (rather long ago and not repeated since, or not that I have noticed) ROH sent this out:- >>After the Rain / new Christopher Wheeldon / Within the Golden Hour will now start at 12.30pm instead of 11.30am on Thursday 11 February 2016. Due to new lighting designs for After the Rain and Within the Golden Hour, extra technical time is required.

Sorry for all who booked tickets - but somehow I am not very surprised at the turn of events. Very underpublicised and in a curious selection of venues across the UK, I was wondering what was behind this series of screenings, at least so far as we in Britain are concerned.

With apologies for any double/cross posting I see that Luke Jennings' long piece from this Sunday's Observer is now online:- http://www.theguardian.com/stage/2016/feb/07/benjamin-millepied-paris-opera-ballet-director-resignation-black-swan-interview

Thursday 12:30

Another online review (with which I agree):- http://seenandheard-international.com/2016/02/confused-production-of-chabriers-letoile-makes-for-a-tedious-evening/

I know how you feel. But when I did the calculation properly (which obviously depends on just how local your cinema is) factoring in all the costs of going to the notional live performance (which of course is not available to me as I don't live in New York) it's cheaper to go to the cinema. And I like all the bonus parts of the transmission, the far more comfortable seats etc etc. So, yes, I will be at Roberto D from the Met but also at various shows at ROH and (depending on reviews) ENO etc.

And here is Stephen Jay-Taylor, at greater length and with more pictures:- https://operabritanniauk.wordpress.com/2016/02/02/chabrier-letoile-royal-opera-1st-february-2016/

A short review by Edward Seckerson, which neatly sums up what I thought on seeing the dress rehearsal:- http://www.edwardseckerson.biz/reviews/letoile-royal-opera-house/

SlippedDisc

Oh yes Petunia, for the last year or so I have found myself going to nearly all of the Met broadcasts (except when I really can't bear the work). The Americans, as is their way, really put on a show so the whole experience - interviews, backstage peeks and all - makes for a substantial evening. And a few times - Cosi, Donna Del Lago, Trovatore, to name just three - I thought the Met did as good as I have ever seen in a lifetime of opera-going (this Turandot not at that standard but a nice night out nonetheless). So, unlike a well-known music blogger, I think Peter Gelb has done some good in the world!

One would have to check in the book (my copy is unfortunately in another city) but it is not clear from the quote that the "Anthony" referred to by Jeremy Isaacs is Anthony Russell-Roberts (there was at least one other notable Anthony working at RB at that point). Perhaps somebody could look this up?

With many apologies to all those who clicked the link, it has just been pointed out to me, rather after the fact, that it is broken. Here (I hope) is the correct one:- http://torch.ox.ac.uk/humanitas/opera-studies#quicktabs-theme_term_quicktab=3 I have been abroad so was forced to miss what will have been a pretty special series of events. Perhaps someone who got there (despite my faux pas the event could be tracked down via Google) can let us know. Sorry again for internet clumsiness.

Events are free, but booking is advisable. http://torch.ox.ac.uk/humanitas/opera-studies#quicktabs-theme_term_quicktab=3

Many apologies - I typed too fast, didn't mean to name the wrong show, the mixed bill is what I meant. My question is the same one though: many tickets still available, does anyone know if she's actually coming?

I see the ROH website is still showing Osipova as dancing Two Pigeons from Wednesday 20th. However there are plenty of tickets so I wonder if "everyone" knows she's not around?

I don't agree. Apart from anything else, there is not much logic in watching a pirate copy on video and then saying it had "no cinematic qualities whatsoever" (someone who saw it in the cinema is surely better placed to make that comment). It would be a shame if someone who has been looking forward to seeing this in the cinema is put off by this comment. Leaving aside problems with the Vimeo copy (some of which are discussed above) this is not a "straightforward TV documentary": it is feature-length, for one thing (television slots being primarily 30 or 50 minutes). And the fact that the film was co-produced by the Storyville team is a strong indication of its genesis as a cinema project, Storyville being the BBC's showcase for the best theatrical documentaries from around the world. No, it is not shot on film (not much is these days and anyway the film-makers would probably not have got the remarkable access they did if they had been shooting film) nor is it a Wiseman documentary. But it is a lot better, more interesting and more layered than some piece of tv hack work. I have already posted the conflicting views of two friends who came at this film from opposite perspectives. To an extent what you get from it will depend on what you want from it. But whatever ones final judgement this film deserves better than the comment above.

On the basic question about the ROH specifically, perhaps it's worth adding that Cojocaru will not now be dancing her performances with the ENB next week (Corsaire at the Coliseum, see the separate thread about Corsaire casting). Injury. Hope she's better soon.

Just for information: those in the UK who can't get to a cinema, or would like to watch this film at home for free without any question of piracy, need only be patient. The BBC are co-producers and the film will be shown as part of the Storyville strand, which is usually on BBC4.