JohnS

Many thanks for the casting information @capybara. I don’t really follow the Requiem casting as regards Ball and Bracewell. Ball is in the Lamb cast but also dances the opening night in the Cuthbertson cast. Bracewell is then in the other Cuthbertson performances including the cinema relay. I wonder if opening night is correct? Having booked for the General Rehearsal, opening and closing nights, I should see all dancers in the theatre, save for Bracewell?

I very much agree. I’ll be very pleased to see Sarah Lamb’s Manon later in the run and it’s only a few months ago when Laura Morera was astonishing audiences with her fabulous performances. But I think I’d prefer slightly longer run’s, particularly of Manon and Mayerling.

A few thoughts on Saturday’s double Manon. I found Saturday evening’s performance fabulous. From his first entrance Will Bracewell’s Des Grieux made for a philosophy student drawn to poetry, which he sustained and developed throughout the three Acts. His Act 1 solo must rank as one of the most ardent expressions of love I’ve ever seen in ballet leaving Yasmine Naghdi with no choice but to fall for him. Bracewell’s desperate tussling with Gary Avis’s Gaoler at the end of the first scene in Act 3 was gripping, making for an exit so anguished that it foretold of the appalling final two scenes. Naghdi rose to the occasion and Saturday evening became one of those so special performances that will live long in the memory. It must be wonderful partnering such a sensitive Des Grieux and with Naghdi really seizing the opportunity, they made for a compelling pair. Their scintillating PDDs were ‘edge of the seat’ as far as I’m concerned. I’d have loved them to have had another performance this run as one or two gestures might have looked a touch more natural with an extra performance. For example when Naghdi lent forward during Des Grieux’s Act 1 solo it seemed a little too considered to me as if a move suggested during rehearsal rather than a spontaneous reaction to Bracewell’s astonishing poetry. I very much enjoyed Luca Acri’s Lescaut and Anna-Rose O’Sullivan’s Mistress and thought the whole cast were on top form, all contributing to this tremendous performance. It seems very remiss to me that we may well have to wait 3 years to see Naghdi’s/Bracewell’s next performance and that’s if they have chance to reprise this particular partnership. I’ve never really understood why so often we only have a couple of chances to see partnerships when there has been such an investment in rehearsal: all that time, effort and emotional commitment for two performances. I’d much prefer partnerships to be given three performances even if that means longer runs and probably one or two fewer productions in the season. Or one or two productions staged in the Linbury rather than main house? I don’t know how the finances stack up although I’d have thought it easier to recover the fixed costs over a longer run. And there is of course merit in variety and new works. But with so many ‘must see’ pairings and some dancers I’d like to see not even cast this run, I do think it would be good if future Manon and Mayerling runs were extended. For the matinee I’m afraid I wasn’t convinced that Natalia Osipova and Reece Clarke were in love in Act 1 where I thought Clarke rather struggled with the choreography which surprised me as I’ve always found him a hugely stylish dancer. It seemed to me Osipova came alive when offered GM’s furs, jewels and riches. I’ve seen the comments about the risks taken and the Act 3 thrown spins were excellent (as they have been for all the couples I’ve seen) but when Osipova falls towards the end of Act 3, Clarke was alongside her throughout and caught her when she was still virtually vertical: there was certainly no dash from the back of the stage for him (as Matthew Ball incorporates). There also seemed a bit of a ‘back from holiday’ untidiness in the matinee performance. For example I thought the three gentlemen a little ragged in the matinee and much crisper in the evening. And as a matinee, I think the audience weren’t as ready to respond to the drama and jokes. I’m hoping the cinema relay will help add to the adrenaline levels as I’m sure there’s more to come from this cast. Many dancers were performing double Manons and how lovely to see Elizabeth McGorian’s Madame twice. Fabulous to see Yasmine, Will, Anna-Rose, Luca and others at the Stage Door after such a performance and offer congratulations.

I very much enjoyed an all Mendelssohn ’cello recital at the Wigmore Hall last night - the two ‘cello sonatas and various ‘Songs without words’ transcriptions. Jean-Guihen Queyras and Kristian Bezuidenhout were the soloists and I was particularly impressive with the second sonata closing the programme. The highlight was the encore - Mendelssohn’s own ‘Songs without words’ for ‘cello opus 109, used so tellingly in The ‘Cellist. I can’t resist adding a link to Jacqueline du Pre’s recording: https://www.youtube.com/watch?v=F7P6YBc9KFA When I got to the Wigmore Hall I asked if they knew what the prepared encore might be to be told encores weren’t always given and depended on the reception given. Sadly Wigmore Hall was perhaps half full - a great shame as those who went seemed enthralled and thankfully more than sufficiently enthusiastic for the encore.

Double Manon for me @Missfrankiecat and very much looking forward to both performances. We seem very fortunate having multiple casts offering so much.

I see Birmingham Nutcracker tickets are already on sale, Birmingham Fille tickets marked as ‘coming soon’, with other venues saying ‘on sale’ but the links don’t yet seem to be working. I thought I’d seen something giving Fille ticket dates in the next few days depending on priority but can’t seem to find it.

https://musiciansunion.org.uk/news/musicians-union-statement-on-strike-action-at-english-national-opera Equity and Musicians’ Union strikes are suspended pending further negotiations.

Looking forward to Saturday’s double Manon. We still don’t see the Mistresses listed: are we expecting Magri for Osipova’s cast and O’Sullivan for Naghdi’s cast or has anyone heard anything different?

I couldn’t make the cinema relay but I’m hoping at some point Rusalka will be added to the ROH’s streaming service where I’ve just renewed my subscription.

I see Katie Mitchell and Oliver Mears are fronting an Insight on 11 April: ‘Directors … Who needs them?’ It’s sold out and I don't know if it’s being streamed. The blurb refers to joining the directors to discuss the director’s role but it’s not made explicit if this includes audience questions/comment. https://www.roh.org.uk/tickets-and-events/insights-directors-who-needs-them-details

I knew I’d posted something praising the revival and I think it was the first time I’d realised there was such an interesting opera section on BalletcoForum. Seeing Lucia rather restored my faith in opera having been so spoiled in the 30 plus years to 2004 and a move to Cumbria. It’s been good to see further productions since Lucia, some very impressive, others not albeit invariably reaching musical highs.

I think you saw it 2017 Sim (the revival so no dripping tap): Posted November 3, 2017 Gosh I just loved the performance last night. I think Lisette Oropesa is sensational and will go very far. Her vocal range is gorgeous, her coloratura incredibly accomplished, and she can act. I also really liked the production. I didn't see it last time around, so the more controversial bits seemed to be excised, but I thought it was very clever to split each scene in two so that we could see what was actually happening behind the scenes (e.g. the murder of Arturo). I usually prefer to use my imagination in these situations, but I thought this worked really well. The friend I was with was very disappointed that they have excised the sex scene in Act 1. She said it wasn't for the lack of a sex scene; she had simply been in awe last time at how both singers had been able to sing beautifully whilst in strange positions.....that is why she was fascinated by it. Does anyone know whether this scene was cut for artistic reasons or whether it is because this cast couldn't perform the duet whilst simulating sex? Dramatically, I guess it would make it very clear why Lucia is pregnant for the rest of the opera......but as I said to my friend, now we just have to assume that they have been sleeping together! She was very happy, on the other hand, because they have turned off the water in the final scene!! A real shame that I will only get to see this once, but I am very pleased and grateful that I at least got the chance to see Lisette. Next time she sings here, I will dash to get a ticket. Apologies - I couldn’t copy the link to the 2017 thread in Opera & Music. ROH Lucia di Lammermoor FOR SALE By Carol October 30, 2017 in Opera & Music I was hugely impressed and am seeing the General Rehearsal and a performance this run.

It does seem so very odd that front of house staff weren’t able to present flowers - I’m sure there’d have been multiple volunteers in the audience. Wonderful to see all the posts and photos and so looking forward to 3rd Feb and chance to see this cast.

I saw the 3rd night Elektra sandwiched between 3 Manons and 2 Giselles: a very different dance to death, more shattering than Giselle and on a par with Manon. Nina Stemme had to withdraw fairly late on which, given her difficulties on opening night, was not a surprise and I found Ausrine Stundyte substituting very impressive, making for a pretty formidable trio alongside Karita Mattila and Sara Jakubiak. They were all able to hold their own when pitted against the massed ranks of the ROH orchestra on fabulous form with Tony Pappano conjuring his magic. I thought the production worked well: I rather liked being able to see some of the goings on ‘off stage’ through the Castle windows and had no problem with Elektra’s flaming torch when the Castle has electricity. Overall I thought Elektra a triumph and I think I’d prefer to celebrate and remember Pappano for Elektra than Andre Chenier. Given Stemme’s very late withdrawal where it might have been touch and go as to whether she could perform, there must be a possibility that a few more days’ rest will enable her to sing in some/all of the remaining three performances. If I were in London, I’d definitely see another performance whoever is singing Elektra.

My comparison was with the General Rehearsal where I’d been much impressed with Ball, Acri and Mendizabel but less so with Cuthbertson. Last night I found Cuthbertson much more engaging, making for a hugely enjoyable evening. I do think Ball a ‘must see’ Des Grieux.

I’m very pleased you’re answering this one Sim.

Great to see the General Rehearsal cast in performance last night. I’d been particularly impressed by Matthew Ball, Luca Acri and Itziar Mendizabel and I’m very pleased to have found Lauren Cuthberton’s Manon much more engaging. Ball makes a fabulous Des Grieux, a real elegance in solos, wonderfully secure, and explosively passionate when enraged and with Cuthbertson in those stunning PDDs. Yet again a magical evening from all involved with so much going on and at times impossible to know where to look. I had to make a real effort to stop focusing on James Hay’s gentleman as his mannerisms so reminded me of an acquaintance.

I’ve known about disabled access/concessionary tickets and various discounts for years but had no idea that some full price tickets were held back for those registered with the access scheme. Whilst such arrangements may have been in place for some time, I’m told they have been considerably expanded.

As I’m at Manon tonight, I did ask at the Box Office about access tickets and it was news to me to hear that several pairs of tickets are held by aisles/exits for audience members to help their access. I was also told that some Swan Lake access tickets remain held back and would be released a few days before the actual performance if they are not sold to registered access audience members. I’m afraid I knew nothing of these relatively new arrangements and so can only apologise for jumping to a wrong conclusion. I strongly support steps to improve access but I do wish the ROH would publicise what they’re doing. They have a great story to tell re access - schools, Paul Hamlyn, NHS, under 25s etc and if that also includes keeping some seats back for those registered under their access scheme, great. I doubt if Ballet Forum comment played much part in the release of today’s tickets and hopefully there’ll be greater clarity about ticket availability on the website.

I’d had the ‘access allocation’ reply but suggested the patterns didn’t look credible. I got a second reply saying they’d checked again and the ‘access allocation’ explanation was correct. But we now see these tickets are accessible via seat maps. I do hope people manage to get their Swan Lake tickets.

I’m afraid I struggle with the ‘access allocation’ line which has been peddled. There’s only been a problem with Swan Lake and with seat prices at up to £175 in the tickets allegedly held for ‘access’ purposes, it simply hasn’t seemed credible.

We now see that for Swan Lake 7 March those c30 seats are now available to be booked via the seat map. I imagine that seats for other Swan Lakes are also available.

I think there’ve been problems with Swan Lake for some days now - no seats showing when accessing the seat map when the suggestion is that there are a number of tickets for sale. A few days ago I mentioned it to the Box Office when I’d had problems using my credit card for an on line booking. I’ve also emailed Customer Services.

Fabulous opening night and more than meeting my sky high expectations. I find Francesca Hayward utterly convincing as Manon. She captures the extremes of Manon’s highs and lows: the vitality of youth, the delights of love, the attraction of riches when contrasted with the bleakness of poverty, mesmerising in the Act 2 brothel scene where she controls the roomful of admirers, then broken by Lescaut’s death and the awfulness and tragedy of Act 3. After a slightly tentative start, I found Marci Sambe hugely impressive in Acts 2 and 3. Alex Campbell makes an astonishingly believable Lescaut and I very much enjoyed Mayara Magri’s Mistress although I rather missed much of her solo as there’s so much going on between Manon and the most repugnant Monsieur GM, another chilling performance from Gary Avis. Wonderful dancing from the entire cast. An unmissable performance, the Royal Ballet at its best and I’m so pleased to have a ticket for the second and last performance of this cast, a month away and many more casts to enjoy.

I may have missed things/got the timing wrong but didn’t Giselle at the close drop a few petals on Albrecht? But definitely no flower for Albrecht.