JohnS

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.

Much to admire in last night’s Giselle and fabulous dancing: I was hugely impressed by Khaniukova, Frola, McWinney, and the ENB Corps. Authenticity certainly has merit and particularly when handled with such care. But on first viewing of the Skeaping production, I thought the production so favoured authenticity that some of the dramatic appeal of Giselle was lost and I can appreciate the comments much earlier in the thread about audience members feeling less engaged. I apologise in advance that I’m contrasting the Skeaping production with the Royal Ballet’s but I found throughout that I was missing the Royal Ballet’s heightened dramatic impetus and fleshing out of all characters. I rather like how Hilarion and Berthe are presented in the Royal Ballet’s production, Hilarion giving the brace of pheasants to Berthe and Berthe clearly favouring Hilarion. I find it odd that Bathilde presents the necklace to Giselle because they’re both engaged rather than for Giselle’s dancing. Might Bathilde offer every engaged girl she encounters her necklace where, despite her wealth, surely Bathilde would run out of necklaces in short order? I missed the artistry of the Royal Ballet’s PD6 and recall so many fabulous performances by young dances who are now Principals. The PD2 didn’t hit such a high mark for me. And I much prefer the Royal Ballet’s nod to suicide (better fitting the location of Giselle’s grave) rather than Skeaping’s ‘weak heart only’ explanation for Giselle’s demise. In Act 2 I did like the first interaction with Hilarion and the villagers and their brush with the Wilis. But I had the distinct impression that the villages had fled so was surprised to see their reappearance which to me slowed the drama down where I thought Hilarion could have done with a bit more of the action. But I think I was most surprised when Myrtha’s spell was broken so early in Act 2 where I’m afraid I found the fugue straight after quite incongruous, for me breaking the drama. And despite the impressive programme notes, I really struggled to see how Act 2 could be sustained when Myrtha had been vanquished so much earlier. I find the final scene of Giselle one of the greatest scenes in all ballet which often breaks me when Albrecht finds Giselle’s flower at the end of the Royal Ballet’s production. But despite last night’s fabulous dancing, I wasn’t as moved as I often am which I think largely results from the production’s quest for authenticity. That said I’m very much looking forward to Thursday’s matinee and I’ll be interested in how I find a second viewing after further re-reading of the programme.

A very special bonus Giselle for me this evening having made a weather enforced late change to my London trip, travelling a day early to ensure I made tomorrow’s Manon GR/opening night. I wonder if tonight will provide the highlight of my Giselle/Manon/Elektra performances?

Have they disappeared again? Or perhaps it’s Avanti’s broadband?

Many thanks @PeterS. I’m more interested in finding out about the staging role rather than the overall MacMillan custodial role. For Nutcracker the cast sheet shows Christopher Carr, Gary Avis and Samantha Raine were all responsible for staging. In addition principal coaching lists: Alexander Agadzhanov, Darcey Bussell, Olga Evreinoff, Isabel McMeekan, Christopher Saunders and Edward Watson. We often see dancers with their coach in Insights, World Ballet Day, the cinema interval features etc. But I don’t know what staging covers and what the relationship is between those staging and those coaching. Perhaps staging becomes more important where choreographers/producers are not available for revivals etc but I’d be keen to know more rather than speculate.