JohnS

Many thanks Bridie - I’m rather hoping audiences may look afresh at Frankenstein, particularly post Swan Lake, Asphodel Meadows and Vixen. Yes, there were criticisms of the first run but some of the comments in anticipation of the revival seem a bit harsh to me. I’m certainly looking forward to seeing a couple of performances - stage/technical issues permitting.

I think the revival was in 1994 after the 1991 premiere. I don’t know why it hasn’t been revived since then as I thought it a tremendous production. I hope you managed to catch a performance in the first run.

Top price for the evening performances was £110 (matinee £80). Stalls H4 was £93 but this time it’s £115 because of changes in seat price categories (H4 is purple rather than orange).

I agree with Richard. I’ve been much more taken with DonQ in this run in part because I’ve found DonQ and Sancho Panza shaping the narrative and not being a bit of an irritant, preventing the dancing from flowing. Perhaps I’m finding more to admire in DonQ’s good natured whimsy and how he deserves his vision of the Dryads, particularly when performed by Anna-Rose, Fumi et al. And at the end of the day his interventions have proved effective, despite his occasional tilting at windmills.

Lovely to read all these reviews of last night’s performance - many thanks to all. From the truncated General Rehearsal I’m not in the least surprised - if just a little green.

I liked Penelope Simpson’s exhortation (yet again) to bring the Box Office inside Open Up - a focal point for current/forthcoming performances, have the Frankenstein dvd playing on decent tv screens, offer good discounts (eg three tickets for the price of two which would allow people to go as a group or individuals to go to three performances ), and ultimately give massive discounts to students/schools. And it doesn’t bother me in the slightest that I paid full price as soon as booking opened as I had the certainty of my preferred seats, very much enjoyed the first run, found a lot of Scarlett’s narrative very effective, and will be very interested to see what changes are made (though there’s is the pretty major problem of not having any sympathy for Frankenstein given his inaction in allowing Justine to be hanged). It will be a great shame if Frankenstein plays to half filled houses - performers need audiences and the Royal Ballet deserves full and appreciative houses.

I rather think ‘an all time classic’ refers to Andre Previn as well as the sketch. He was clearly held in the highest regard by the LSO and audiences, be they in the concert hall or on the BBC. I somehow can’t see current broadcasters offering a similar programme to ‘Andre Previn’s Music Night’ which helped introduce millions of people to a wide range of the orchestral repertoire in a very appealing and informative way. And I loved the self deprecating remark I heard the other day when Andre Previn was taking the rostrum for the Vienna Philharmonic in Federmaus one New Year’s Eve - the leader asked if Andre Previn wished to conduct or should the orchestra simply play.

I rather thought the questions were for the Chairman’s benefit in planning how best to cover a range of issues: We know that members have many issues that they would like to raise with Alex. In order to cover all these effectively, we would ask members to submit questions to our Chairman in advance. I don’t see any suggestion that Alex Beard is wanting advance notice of questions let alone vetting questions. For my part I’m much more interested in the quality of the answer and would have no issue if Alex Beard does know questions in advance. Sadly I’m not in London that evening but will be very interested in what’s said in the meeting report.

There’s a real arbitrariness about what the Royal Opera House puts on News. The DonQ Insight was not on News and some people commented they only found out about it because of posts on Ballet Forum. But the Forza Insight for 5 March is on News, announced yesterday 27 February - very welcome and sensible timing, just what News is for I would have thought. Today we see Chris Shipman’s advocacy of social media and particularly Twitter as the Royal Opera House’s preferred method of communication. Whilst I’m happy to dip into Facebook etc and am pleased to find some engaging vignettes, for example the DonQ highlights, I’d much prefer to go to the website for News, just as others have already made clear in their posts. I’d be delighted if the Royal Opera House would use its News pages to give information and also to engage in constructive debate with audience members, ideally answering questions which seem eminently reasonable. I will continue to press for answers on the Forza Viagogo tickets and the long outstanding questions about the use of scrims in Bayadere and Unknown Soldier.

But ROH’s News still carries some important bulletins and includes ‘what did you think of ...’ Recent bulletins include Cesar Corrales injury and details of replacements and Alex Beard used News to respond quickly to the Forza ticket Viagogo problems (but regrettably there is still no response to the legitimate questions asked by a number of people).

There have been real problems with casting information but at least Daniel Camargo was on the cast sheet and there’s a link to his biography on the website for the 23 matinee and 27 performances. I don’t however see a News item about Daniel Carmargo dancing Basilio - was the change simply emailed to people who had booked? If so that seems rather poor as News is often used for such changes.

And also the truncated General Rehearsal so not Act 3.

I take it Prince Charles isn’t in the Royal Box for a repeat Don Q performance?

I’d like to give assurances to ninamargaret and others that from my experience heads of service and other senior managers do care very much about comments made by audience members. I’ve had conversations and email exchanges where heads of service clearly see the gap between the excellent standards achieved on stage and other aspects of attending the Royal Opera House where there are acknowledged problems. I think some are being addressed (the return to better sized cast sheets and notification of cast changes) but others may take a little time. I would urge people to express their views: it’s good to say what has worked well (The Nutcracker Cinema Relay Cast Sheet - so why was DonQ so poor?); and equally highlight the need for improvements (admittedly quite a long list, a particular bugbear for me being the lack of answers to questions asked on the website - the use of scrims and the Forza ticketing saga).

Or a throw back (decades ago) to last orders? And musicians may well have a head start, leaving after the conductor is brought on stage and the acknowledgment to the orchestra from the whole cast which I always find very touching and invariably richly deserved.

A very welcome visitor - a barn owl most mornings is quartering the field at the back, sometimes for a couple of hours and as late as 10:30. Makes for a very leisurely breakfast occasionally merging into coffee.

I very much enjoyed the cinema relay in Keswick if it didn’t quite have the exuberance of opening night (I’m not sure what could). Lovely to see Akane and Alex having the cinema opportunity. Mayara and Valentino were good but having seen a little of Matthew Ball I very much wish I were going to see his Espada and Basilio performances. I thought the Dryads scene the highlight of the evening with Anna-Rose, Fumi and Akane. I also enjoyed the extras, particularly the interview with Tim Hatly and his picture book analogy for what he was wanting from the sets. In illustrating the point, it was very good to see the whole stage which yet again underlines the need for some wider perspectives in the filming. And I was very pleased to see the preview for Flight Pattern and hope audiences have had their appetites whetted - very different and will be great to have Kristen on stage in the principal role, although I do very much appreciate her as a presenter.

I’d been meaning to return to the point I’d queried about Liam Scarlett ‘s ‘flawed judgement’ but had difficulties accessing the thread the other day. Having now re-read the thread, what strikes me most as regards Scarlett is the almost universal praise for Asphodel Meadows and people’s surprise at how impressive they found the work. There has also been a fair bit of praise for Vixen, particularly in one or two reflective posts where people had seen more than one performance. At one point in the thread people were musing on what might be included in a Scarlett Triple Bill, with some enthusiasm. There was perhaps one critical post highlighting a concern that Scarlett has been given too many opportunities and expensive productions. When I first read Bridie’s post I did think it a little strong and unsubstantiated in the context of this thread and drafted a brief response. I ended up deciding to include that response when adding my thoughts about Saturday’s matinee, the deciding factor being a conversation I had where my neighbour spoke eloquently and passionately about Scarlett’s ballets. I’m very grateful to Bridie for providing her response and elaborating on what she sees as ‘flawed judgement’. Bridie in her initial post reserved judgement on Frankenstein and, as we will soon see what tweaks are made in the restaging, I wasn’t going to add anything about Frankenstein other than to say I’m looking forward to the second run and hope very much ticket sales will accelerate. I appreciate the points made about design, plot, complexity etc. But I have to say I found Sweet Violets gripping, in part because I thought the plot, choreography and music were so well integrated, and I would be very pleased to see it performed again. I was not as moved by Age of Anxiety because I found the characters less interesting/sympathetic but I thought it certainly worked as a piece of theatre, and particularly in the cinema. It certainly worked for me much better than Strapless, The Wind and The Unkonwn Soldier. As regards Swan Lake, I appreciate people have different expectations for the ending but I wonder if it’s fair to say that because a choreographer takes a different view to an audience member (or even a large number of audience members) that is evidence of ‘flawed judgement’? Taken to an extreme, that’s almost suggesting that anyone who disagrees with a particular interpretation has ‘flawed judgement’. It strikes me many interpretations are valid and may well be worth presenting and whilst I might have preferences, I wouldn’t presume people who don’t share my preferences have ‘flawed judgement’, let alone the choreographer. As regards Sim’s comment, I’d just highlight that I was making the point that the criticism of Scarlett’s judgement to me came out of the blue on this thread. The vast majority of comment to that point had been positive (if surprised) and I do think if a strong statement is being made, it really helps the debate if some argumentation is presented.

And I very much enjoyed reading Jann Parry’s review of The Cunning Little Vixen. I look back on the one performance I saw with great affection and Jann Parry certainly captures that overall sense of joy, with the unexpected happy ending, as well as the darker aspects. I’m rather hoping Vixen might be included in the Royal Ballet School Holland Park performances - and the Annual Performance (if I can get a ticket).

Whilst I’m sure Bridiem has reasons for what she says and might well have voiced those reasons in posts over the years, this statement to me comes a bit out of the blue on this thread. I’d welcome some examples of ‘flawed judgement’ as I find it a little difficult to respond to such a statement which seems pretty damning. But onto this afternoon’s matinee. I very much enjoyed the Royal Ballet School in Liam Scarlett’s Cunning Little Vixen. A colourful back projection, fabulous costumes, and lovely characterisation of all the woodland creatures. A super frog with fantastical jumps but a real ensemble piece and one I would be very pleased to see again. The orchestral arrangement worked well and I thought made for an entertaining, complementary partner to Two Pigeons. And another happy ending. In Two Pigeons, James Hay, Fumi Kaneko and David Yudes were stand outs for me. Yasmine Naghdi was wonderful at the end of Act 1 and Act 2, perhaps a shade too irritating at the outset where I sometimes feel less is more. An extraordinary 24 hours with the truncated General Rehearsal, opening night Don Q and bringing the curtain down on Two Pigeons. Thank you Royal Ballet and the Royal Ballet School.

I agree a fabulous opening night with great performances from the entire cast. Yes Vadim and Marianela were sensational but so were Laura/Ryoichi and all roles were sumptuously cast. Scintillating, effervescent dancing from Anna-Rose as Armour and I very much agree with Bruce Wall and others above. Anna-Rose was truly MC for the Act 2 Dryads, seemingly conjuring Fumi and Marianela to dance. I know a lot if people are not sold on the production but I find it very appealing (although I’d prefer to dispense with the shouting). I rather like how Don Q and Sancho Panza are very sympathetically portrayed and how the world is a better place for Don Q’s dreams and Sancho Panza’s concerns with more bread and butter (or meat and wine) matters. Remarkable that David Yudes dances Sancho Panza one day and the Gypsy Boy the next. And I love the horse, the bed post lance and the makeshift armour. An evening that simply fizzes when danced so exuberantly by the entire Royal Ballet. The applause at the end was tremendous: it reminded me of the opening night of the new Swan Lake - all that was missing was a flower throw.

I should just add that Runner was not prefaced by ‘It’s Gonna Rain’ and have rather enjoyed the first part of the concert.

I see there’s a Steve Reich live broadcast on Radio 3 tonight, including Runner (commissioned for Wayne McGregor’s Multiverse). Also Clapping Music and Music for 18 Musicians. Apologies - only 30 minutes notice but on iPlayer.

Looking forward to Saturday. Intrigued what Janacek music is used - is it an arrangement of Cunning Little Vixen?

From my pretty limited experience, there tends to be a fair bit of activity, people going in and out, perhaps chance to see the conductor/Kevin O’Hare/other coaches, some dancers are pretty quick and may not have been involved in curtain calls etc. And there’s opportunity to chat to others waiting. There is of course always the chance that the dancers your daughter most wishes to see may be last out/toolate.