JohnS

Tonight’s cast sheet:

https://static.roh.org.uk/digital/cast-sheets/MacMillan-Celebrated/MacMillan-Celebrated-Cast-Sheet-20-03-24.pdf

Very much looking to opening night after the General Rehearsal this morning .

Danses concertantes / Different Drummer / Requiem open on our Main Stage on 20 March – watch the Insight tonight at 7:30pm:

https://www.youtube.com/watch?v=OrcXGuiYYi0

I’d seen the apology @Scheherezade and thought that’s very unfortunate. Mistakes do happen and it’s good when they’re corrected so hopefully no one turned up yesterday.
It was the run of ENO clangers that rather worried me and with the awful news on redundancy letters, compounded by being distributed part way through a performance, resignations etc, it’s been a very grim time at ENO.

I’m pretty sure the water in Dutchman is contained on stage - I certainly hope so for the orchestra as well as those nearest the stage. Definitely no audience participation, special glasses, moving chairs so ‘immersive’ may be overstated. But the production is extraordinarily absorbing, ‘immersive’ in a more traditional sense. I find that’s also very much the case with Lucia, Jenufa and the new Rheingold so I’m very much looking forward to further Ring instalments. 
 

I wouldn’t be too critical of ROH’s marketing tweets, certainly not compared to ENO where apparently their marketing people have warned Jenufa and Duke Bluebeard’s Castle may be too difficult for new opera goers so suggest Magic Flute and Barber of Seville instead. And I now read ENO have said that Johann Strauss was Richard Strauss’s father and Benjamin Britten composed the music for Zeffirelli’s Romeo and Juliet film. I  thought all this must be a spoof and from a quick look I haven’t managed to find references on the ENO’s website/social media but the ENO pages quoted on various social media posts look genuine.

I found Dutchman pretty engaging, for the main characters and the fabulous chorus. I’d have liked to see a performance as well as the General Rehearsal but dates didn’t work so I’ll catch the 2015 performance when it’s on the Stream. I wonder if ‘immersive’ is also a reference to the water at the front of the stage which is used very effectively for a model ship and the sailors’ party?

Apologies - I’m very late to the recent posts. I wonder if some more ambitious productions might be worth considering? I’d been unimpressed with recent Toscas, Bohemes, Turandots etc having been spoiled by so many great performances in the 1970s to 2000s before moving to Cumbria. But my faith in opera was restored when I saw Lucia di Lammermoor and then Jenufa, engaging;/challenging productions and wonderfully sang. Lucia is coming up in April and I’ll be going to the General Rehearsal (a handful of £9 tickets) and a performance (plenty of tickets, all prices). There’s not much Lucia on the Stream but there may be an Insight coming up - on 11 April Katie Mitchell and Oliver Mears are discussing the director’s role in taking a production from the rehearsal room to the stage which may include some discussion of Lucia but I don’t know if it will be relayed/on the Stream. Jenufa is on the Stream - it’s a production I find gripping where I am genuinely concerned as to what happens to all the characters. I enjoyed the recent Flying Dutchman General Rehearsal and a 2015 performance will shortly be on the Stream. There are a couple of performances left this run - 2 hours 30 minutes and no intervals but for me the time simply flew by. 

A truly memorable evening on Friday and fabulous to see all the tributes, footage of the curtain calls and speeches, and the stunning performance footage from the wings. Thank you all for the posts here.
 

I do sympathise with the comments about Alex being so underused but I thought his speech an eloquent and incredibly measured response. I’ve also been looking again at his ‘Spotlight on …’  series on the ROH Stream which seems remarkably prescient.

It was great to see Alex, Claire, Francesca and others at the Stage Door, with Alex generously finding time to have more than a few words with everyone as he’s always been so willing to do. 
 

In writing a note for Alex I realised I’ve now been coming to the ROH for 50 years and Alex and Francesca have certainly provided me with some of the absolute highlights. I’d pick their Giselle (Act 1 of the first performance and Act 2 of their second performance) and last Saturday’s Manon as the ones I’ll most treasure but there are of course so many more which will stay with me. Hugely fitting for Alex and Francesca to be dancing Manon to bring the curtain down on this Royal Ballet chapter of Alex’s career and let’s see if there’ll be another chapter at some point.
 

Meanwhile huge congratulations, many thanks, and all good wishes to Alex as he takes up his RAD role, a great opportunity where I’m sure he’ll excel.

I too booked for the Annual Performance. There wasn’t much choice (other than in the Amphitheatre) and I was pleased to get a restricted Balcony ticket. It’s always good to attend and a great way to bring the curtain down on the season. And hopefully I should manage a day trip as it’s a Saturday.

I do hope you got what you wanted @Dawnstar.

The problem I have is the many full price tickets which do not have the unobstructed view and where it’s a bit of a lottery as to the height of the person sitting in front.

I’m sorry you missed out @LinMM. All a bit of a rush at 10:00 and very fortunate to have got such a good ticket. Stalls can be a bit hit and miss but the aisle seats (normally 6 and 26/27) are exceptional.

I've returned the ticket to the Box Office. It’s a favourite seat and I find the restriction pretty minimal but I managed to pick up a very good aisle seat in the stalls.

Apologies - I managed to duplicate my post rather than edit it.

Ticket for sale for tonight’s Manon (8 March 2024 7:30pm) Balcony A33 (slightly restricted because if the safety rail to the right) £99.

Please pm me and post here.

I’ll return it to the Box Office this lunchtime before 1pm.

Another fabulous Wigmore Hall recital this lunchtime (6th March). Alisa Weilerstein cello and Inon Barnatan piano played the fiendishly difficult Britten cello sonata with astonishing ease followed by the Brahms second cello sonata, a favourite. They then played the Andante from the Rachmaninov cello sonata as an encore. A wonderfully matched duo and so good to have the Wigmore Hall hosting their programme, such a welcome haven of civility from the ills around us.

I enjoyed last night and there was much to admire. Melissa Hamilton is a compelling Manon and I agree with the praise for Calvin Richardson’s debut, particular his solo work, acting and stage presence. But there were times when the partnering was insecure and I was pleased Melissa Hamilton is such an experienced Manon and covered so well. Act 3 impressed me most and I’d very much like to see them again: I wish they’d had chance for another performance this run.
James Hay is a magnificent Lescaut and I feel very fortunate to have seen his three performances. His cameo old man has also provided great entertainment and hopefully we’ll see him again in that role on Friday.

On 03/03/2024 at 10:38, Fonty said:

Hayward and Campbell seem to fit together perfectly.  During the bedroom pdd, I felt a bit like a peeping Tom, their dancing was so intimate.

I think Fonty’s highlighting of Hayward’s and Campbell’s intimacy absolutely captures Saturday night’s performance. Their relationship seemed so real that for me they inhabited Manon and Des Grieux more than any other lead pair. Their fluidity of movement, at times almost melting, transcended the choreography. Whilst always on the beat, they conjured time to make the most of every gesture, touch and kiss. A truly fabulous performance.

Very sorry to hear about your migraine @Richard LH. I do hope you’ll be able to enjoy Friday’s performance.

Utterly spoiled by yesterday’s double Manon. Two unforgettable performances.
A privilege to see Sarah Lamb’s Manon and like others I do hope that’s not her final Manon. Sarah was extraordinarily generous at the Stage Door and in Floral Street, emerging in dressing gown and Manon’s wig, then donning a coat when outside in the damp. I thought Ryoichi Hirano more relaxed in his second Des Grieux and his Act 3 was particularly strong. James Hay was a hugely impressive Lescaut.

Last night’s Manon was one of those truly exceptional evenings, Francesca Hayward and Alex Campbell intoxicating throughout. Valentino Zucchetti and Leticia Dias gave strong performances. Gary Avis and Nicol Edmonds were appropriately evil. And a shout out for Kristen McNally’s Madame and Marco Masciari’s Beggar Chief. It all made for a thrilling Royal Ballet performance with Francesca Hayward raising the bar yet again on her Manon. Fabulous to see Francesca and Alex at the Stage Door.

Of the eleven performances I’ve seen this run, including the General Rehearsal and cinema relay, last night’s is the one I’d most like to see again. So I’m looking forward immensely to Friday. I’m sure any tickets will quickly be snapped up and those fortunate to be able to do so are in for a treat. But before then on Tuesday it’s the Hamilton cast and who knows if that may change my view.

Very pleased to be on the train heading for London for today’s double Manon. Avanti are running pretty much to time and I don’t think there’ve been any cancellations so far this morning, at least on the main line. With a covering of snow and ice, not the easiest of drives to Penrith but I’d allowed double the normal journey time. I’m pretty sure all the snow will have gone by Sunday afternoon and next week’s Swan Lake General Rehearsal drive should be easier. Whether Avanti continue their recent run of good performance (at least as far as my own arrangements are concerned) may be more of a question.

I returned the ticket to the Box Office and I think it’s been sold.

I returned the ticket to the Box Office and I think it’s been sold.

A final check to see if there’s any interest in this spare ticket before returning it to the Box Office.

A final check to see if there’s any interest in this spare ticket before returning it to the Box Office.

1 hour ago, zxDaveM said:

Meant I missed the last act

 
Goodness - that’s awful.
Despite Avanti’s grim record, so far I’ve always managed to get to my booked performances (albeit sometimes having to add an extra night for industrial action/grim weather) and never had to miss an Act. And I’m enjoying my Platinum bonus freebie return journey, including a bacon sandwich second breakfast.