JohnS

I don’t think so @alison as the ‘available’ seats never show on the seat map.

11 hours ago, LinMM said:

Unfortunately I have had to return my ticket for next Saturday matinee’s Manon ( Hayward cast) as the travel both that Saturday and Sunday is just too problematic with two replacement buses via Haywards Heath and Three Bridges plus train and will take two and a half hours ( instead of one hour).

Very sorry you’re having to miss Saturday’s matinee. I’m sure 27th February will be great. I was just wondering if you’ve looked at 2nd or 8th March: Hayward, Campbell, Zucchetti and probably Choe. Hayward and Campbell were great last time and 8th brings the curtain down on this run.

Is there still a problem with how access tickets are being treated? The later Manon performances show availability as 20 plus for each performance but there’s hardly anything when looking at the seat maps and nothing for the Hayward performances when 55 are ‘available’.

I very much enjoyed the cinema relay, more so than the Saturday matinee. It was fabulous to see the detail of Osipova’s Manon and all the cast. I’m hoping to see Sunday’s encore screening (unless the weather dramatically improves) but I just wanted to offer a few thoughts from Wednesday evening.

I found Clarke’s Des Grieux much more impressive in the cinema than in the matinee but I still thought at times there was some insecurity and with all the close ups a little too much bewilderment. I recognise I’ve been rather spoiled by Ball and Bracewell and I’m very much looking forward to seeing Sambe again. I’m not seeing Bolle but Muntagirov, Richardson and Campbell are still to dance and I’m very keen to see their Des Grieuxs. 
 

I’ve liked the observations about Manon and Lescaut being so close, equally committed to getting their hands on the money. Osipova and Campbell came across very strongly but Campbell (with Hayward) and Acri  (with Cuthbertson and Naghdi) were also very impressive. Hayward finds she’s partnering Campbell as Lescaut and Des Grieux at the end of the run and she mentioned how she’ll have to check if Campbell is lover or brother but with Lescaut pimping Manon I can’t help but wonder where the boundaries lie.
 

I’ve very much enjoyed seeing Magri, Mendizabel and O’Sullivan’s Mistresses. They all made the most of the role and their relationship with their Lescauts.

For the relay the cinema in Keswick displayed the autocue words as subtitles so departures from the autocue were even more obvious. I don’t recall this happening in previous cinema relays.
 

I thought some of the camera choices looked a bit odd, particularly at the end of Act 2 where I don’t think GM’s backhanded cuffing of Lescaut quite worked and where the camera cut away just when GM fired his pistol so it wasn’t clear who he’d shot. I rather liked the cut away to Manon’s and Lescaut’s knowing disgust when GM became ‘over excited’ in Act 1 as Petroc Trelawny so delicately put it but I thought we missed rather too much of Des Grieux’s Act 3 scene 1 solo when the camera cut to Manon and the Gaoler.

Sadly only the Swan Lake casting was announced so we’re still waiting for Ashton (and Winter’s Tale) - see thread on Summer 2024.

17 minutes ago, zxDaveM said:

and for The Winter's Tale too (and second run of Swan Lake?)

I hope so Dave but I don’t know. Also the e-news tends to come out late afternoon so I’ll have to patient.

I think the fortnightly Friends news is emailed today so hopefully we’ll soon see some casting information.

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?

19 minutes ago, annamk said:

It's all very difficult .... I wouldn't care to be in Kevin O'Hare's shoes.

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

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.

14 minutes ago, bridiem said:

 

That's ridiculous. Surely anyone could have done it!

 
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.

2 hours ago, Dawnstar said:

 

May I ask if this in comparison to previous runs? I haven't planned to see her this time around as when I saw her last time I found her Manon did not move me.

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.

3 minutes ago, Sim said:

We have just been discussing this on another thread (sorry, can't remember which and don't have time to look at the moment).  Some have thought that it was to satisfy the clients who might be bisexual, others have thought that it is someone who acts on the stage and plays boys' roles.  I am going to try to find out for sure!

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.