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bridiem

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Everything posted by bridiem

  1. bridiem
    I don't think they could open booking without the principal casting having been announced - I can't remember that ever happening for a full length work (apart from creations, I suppose).
  2. bridiem
    Although it would be early in terms of leading roles danced, I would promote Beatriz Stix-Brunell now. I wouldn't have said that before her Juliet; but as Juliet she owned the stage like a principal. And definitely Sambé, Sissens and O'Sullivan. But injuries have caused a real problem with the men; perhaps Bracewell and Corrales will simply continue to dance leading roles for a bit longer (which will be very necessary, as far as I can see) and if all goes well there could be promotions mid-season?
  3. bridiem
    In today's Links, the Sunday Times review of the RB triple bill includes a photo of Sarah Lamb and Alexander Campbell in Within the Golden Hour. The caption reads: 'Lacking bite: Natalia Osipove and Matthew Ball in Medusa'. Wrong ballet, wrong dancers, wrong spelling.
  4. bridiem
    Yes - and I suppose she's playing with a doll that she can cradle as a baby, so perhaps indicating impending adulthood.
  5. bridiem
    It's entirely a matter of preference. I prefer being further forward even though it means being at the sides, but I'm sure others prefer to be central even if further back.
  6. bridiem
    I just checked the ROH website re packages - see http://www.roh.org.uk/help/package-faqs My head hurt by the time I'd tried to understand all the options...
  7. bridiem
    It may be that by buying the lowest price in the package system (in the Amphi), but at the discounted price, it wouldn't be so much more than the tickets I buy outside the package system. I haven't actually done the sums in detail! I just remember that last time I checked I decided not to use it. But you may want to do more systematic research! Good luck with your decisions!
  8. bridiem
    I'm a standard Friend, really just for the priority booking. I buy seats in the Amphi in the £12-£30 range (depending on the production) and almost always manage to get seats for the dates I want (I almost always manage to go online at 9am on the relevant date). I don't know if I'd be able to get these seats if I wasn't a Friend and just waited for Public Booking, but it's not really a risk I want to take since I can't afford more expensive tickets. (I'd be surprised if 'most' people on this forum book the expensive seats, though I know some do.) I don't use the package system because it doesn't cover the cheaper Amphi seats.
  9. bridiem
    Thanks for posting your thoughts, JohnS and Jenny Taylor - very interesting. I am seeing this cast on Thursday, and I hope it will be the same supporting cast too!
  10. bridiem
    Thanks for posting the link to the concerto, Richard LH. I intended to dip into it, but once started I couldn't stop. Mesmerisingly beautiful.
  11. bridiem
    Normally I rather like the presenters being a bit over-excited (because I am too); but it jarred last night, because for this bill (although it's excellent) you really need a calmer, more informative style of presentation than for a 'blockbuster' ballet. Their style also jarred with the tone of the contributions from those interviewed.
  12. bridiem
    I would echo all your words exactly, Anna C! (Though I did enjoy Darlex's post too! Nothing like a robust opinion...).
  13. bridiem
    Hayward and Zucchetti replaced Cuthbertson and Hirano in the Wheeldon.
  14. bridiem
    Oh, I see.
  15. bridiem
    But surely it's sold out? Do you mean you might try to get a last-minute ticket?
  16. bridiem
    I book in the sides of the Amphitheatre, usually rows F to J - but there aren't many seats available set at my maximum price (which would be the £30 band you mention above. At least I hope so!). I'm quite tall (5' 9") and I usually have a good view from those seats (but I do use opera glasses a lot). My friend who is shorter uses one of the cushions (available at the programme points) and is usually OK but I think your 10-year-old would definitely need the cushion especially in case there is someone tall in the seat in front of them. Nearer the middle of the Amphi would be the higher prices you quote (though I think the front centre might be even higher than these prices - not sure). But it depends how you feel about being quite high up and quite a distance from the stage. I don't mind at all.
  17. bridiem
    I wasn't really expecting updates before the event - I'm just looking forward to going to it!
  18. bridiem
    Enigma was in my first ever mixed programme too, AnneL! So will always be (extra-)special for me. Exciting for you to see it again next season!
  19. bridiem
    Great review, Mandy! Sounds far too cool for me...
  20. bridiem
    Hmm. Not sure about this, though I can see the thinking. The Genée awards have a long history, and were named thus for good reason.
  21. bridiem
    I last saw the company do it in 2000!
  22. bridiem
    I'm not sure how they know for sure what the 'demographic' is every night; I have rarely filled in surveys, and my work and financial situation has changed radically in recent years. And, the only possible starting point for reaching a wider audience is to address the ticket prices; not to put them up, by whatever rate of inflation they use.
  23. bridiem
    That's true. And I'm sure that if Polunin had stayed, he could have negotiated a similar arrangement in due course. He had the talent. And I wish he had done that.
  24. bridiem
    Yes; and she joined the Royal Ballet...
  25. bridiem
    I really don't care what his opinions are, or whether or not I or anyone else agrees with them. He is clearly immature and troubled, and I just wish he would stop leaving himself open to criticism. (This applies to a lot of immature 'celebrities' who find themselves in the public eye.) The only thing I can judge him on are his dancing and his artistic choices; the former used to be magnificent but from what I've seen has deteriorated noticeably, the latter are from what I've seen highly questionable.
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