JohnS

Apologies - it was Leo Dixon who I thought very impressive in earlier performances. It was my first time seeing Lukas B Braendsrod as Espada.

I was impressed with much of tonight’s performance but some issues trouble me. Tomas Ades gives a fabulous score albeit I still have some reservations about the Act 2 taped chant. But Acts 1 and 3 are tremendous and fabulously played with Jonathan Lo conducting. I do though have concerns about the sound balance where some amplification seems way too much (double basses) but that’s one of the problems of using tape and live music. The worst aspect of the sound was the very loud hum for the entire Act 3. I assume this was a byproduct of the screen display which I think was projected from the central Balcony. I was in the Balcony and the most central seats (8? seats and all 4 rows) were roped off - a significant loss of potential revenue. The hum was incredibly loud, audible throughout the Act, and completely drowned the quietest passages. I don’t recall such an issue in previous performances but it may be at its most intrusive in the Balcony. As regards the choreography there was much to admire. Bracewell made a convincing Dante, even when simply observing what was going on. I found his active dancing fully engaging, a remarkable debut as I was more convinced by him than previous Dantes. In Act 1 many roles were reprised from last time and I very much enjoyed Sambe/Naghdi (Ferryman), Hayward/Ball (Francesca and Paolo), and O’Sullivan (Dido) with Acri. I know Richardson had danced Ulysses previously but his solo was mesmerising. Sissens and Boswell were fabulous Soothsayers. As ever the Thieves almost brought the curtain down but had to give way to Hamilton’s chilling Satan. In Act 2 I do like the three Dantes and Beatrices and their interplay. Kaneko made a fabulous Beatrice and I very much enjoyed Hayward dancing the middle Beatrice with Masciari as the middle Dante. Act 3 built inexorably to the final Dante/Beatrice scene and Dante’s enlightenment, with Bracewell and Kaneko both transcendent. But I do think the ROH urgently needs to sort the appalling hum for Act 3. And whilst it’s good that the Cast Sheet names the characters, it would be far better to add a one sentence explanation of what they’re doing. Headings such as ‘The Selfish’ or ‘Ferryman’ aren’t anywhere near sufficient and I fear some audience members didn’t make it to Act 3. The ROH really needs to treat its audience with more consideration. We have decent synopses for classics but for some bizarre reason, audiences aren’t allowed helpful synopses for many modern works: a real bugbear and so easy to rectify.

That post Francesca Hayward and Anna-Rose O’Sullivan are also not mentioned. They and Yasmine Naghdi are very high on my list of ‘must see’ dancers albeit my ‘must see’ list is getting pretty long.

I very much enjoyed last night’s Don Q and was delighted to have seen Natalia Osipova’s Kitri on a special night for her and the Royal Ballet. It’s the explosion and whirlwind speed that she delivers with such gusto that I’ll remember. I thought Reece Clarke a fabulous Basilio and partner. The first one armed lift was astonishingly well executed - immediately in position and both Natalia and Reece statuesque. I was hugely impressed by the four beggars, Liam Boswell and Marco Masciari both excellent. I know there’s been some comments about the beggars’ prominence, particularly when they’re not central to the action, but I’ve enjoyed their contribution and it’s the delivery of their dance, complementing Kitri’s attack, which I’ve found so attractive. Very good to see Tom Whitehead’s Don Q, my first choice Don Q, and Daichi Ikarashi’s Sancho Panza again. Gary Avis made the most of Lorenzo. Calvin Richardson certainly put his stamp on Gamarche: it’s been great to see his Espada and Gamarche this run. I thought Annette Buvoli became more confident as Mercedes as the evening progressed: it must be a bit disheartening to lose her fan so early in Act 1, excellently retrieved and presented to her, and clip the first tankard. As others have said, her Queen of the Dryads was lovely. For me, and apologies for being stuck in a groove, Itziar Mendizabel has been the stand out Mercedes. Lukas B Braendsrod as Espada didn’t seem as assured as when I saw him earlier when he really impressed but he did well to hold an early slip. That earlier performance put him high on my list of Espadas. The dream sequence was fabulous and I very much enjoyed Ashley Dean’s Amour, Sumina Sasaki’s Queen, and the corps. I thought Leticia Dias and Mariko Sasaki excellent as Kitri’s friends. I was most surprised by Sancho Panza’s horn solo as I was expecting the usual cacophony but last night we were treated to the tune. Was this a first? Despite some blemishes, this was a night to remember and congratulations to Kevin O’Hare for recognising Natalia’s first 10 years. Here’s looking forward to the next chapter.

Apologies in advance for the diversion but I read this yesterday with pleasure: https://www.theguardian.com/uk-news/2023/nov/17/hampshire-villagers-bring-streets-apostrophe-catastrophe-to-a-full-stop?CMP=Share_iOSApp_Other The article’s headline is correct if not the url.

I thought Kevin O’Hare’s speech spot on, recognising both Natalia Osipova’s unique contribution to the Royal Ballet and the difficulties artists face in these challenging times. Kevin didn’t need to make any explicit reference to Russia but what he said clearly hit the mark for Natalia. I don’t think the flower throw was as extravagant as for 25th anniversaries or retirements but it seemed entirely fitting for the occasion. Quite unexpected but hugely welcome and I’m sure Natalia will have been very touched by the flower throw, Kevin’s speech, and the audience’s reaction.

I too got this and tried to reply but it’s one of those infuriating email addresses which won’t accept replies. On the plus side I must say how good the Box Office staff are. In preparations for Spring booking I wanted to change several Manon bookings to dovetail with Spring options. I did it all on line the other day only for the payment to fail and a ‘Contact the Box Office’ message appear. The Box Office answered my call bang on 10:00 and sorted everything.

General Rehearsal cast which is likely to be the same for opening night: https://static.roh.org.uk/digital/cast-sheets/The-Dante-Project-2023/The-Dante-Project-General-Rehearsal-Cast-Sheet-17-11-23.pdf?_ga=2.202437207.79908428.1700158232-1111864046.1694786165

Enjoyed the General Rehearsal and looking forward to tomorrow’s opening night (same cast). I’m sure tonight’s final Don Q will provide a very welcome contrast.

Of the Mercedes I’ve seen so far this run, I’ve been most impressed by Itziar Mendizabal. I think she’s made more of the role and seems closer to Laura Morera than others.

When there was a Song of the Earth Insight some years ago now, I thought there were a few references to ‘Laura’s leap’ albeit Laura Morera was caught by both Ed Watson and Nehemiah Kish.

I’m afraid Keswick cinema’s satellite link failed (first time ever). A very enterprising cinema offering the audience tickets for Sunday and a free film tonight (The Great Escaper was the majority choice). Currently overcast skies so no sign of the Northern Lights.

I’m sure Magri, Ball et al will provide the fireworks although I hope whatever’s planned isn’t a damp squib. I’m planning to see the cinema relay in Keswick so I’d settle for a glimpse of the Northern Lights which would certainly add to the occasion.

I’m very pleased to have made the last performance of this double bill. Anemoi has grown on me and it was good to see Harrison Lee alongside Leticia Dias with Mariko Sasaki and Lukas B. Brændsrød as the other couple. I did pass on my comments about the absence of any information in the Cast Sheet when Valentino Zucchetti is so eloquent in the programme. There seems to be a reluctance to make good use of Cast Sheets: I can see that the ROH will wish to sell programmes but nil information I think is a disservice to audience members. There’s much I admire in what Cathy Marston has made of The Cellist, including the many roles taken by the corps, the extended du Pre family, cello teachers, and the Trout quintet musicians. I feel the central characters, du Pre, Barenboim and the cello, come into their own when they take flight from the literal and explore what playing music can mean for the cellist, cello and conductor. In many ways I wish there were more free flowing sections as for me there’s a little too much air cello with the sitting pose for child and du Pre looking particularly uncomfortable. But the more I see The Cellist, the more I think the music and Hetty Snell’s solo playing make the performance. The way du Pre’s illness is depicted in the extraordinary harmonics used to transform the Mendelssohn hits me every time. And I was delighted to see I wasn’t the only one providing a bouquet.

I very much enjoyed Thursday’s matinée performance, an impressive triple bill and good to see Northern Ballet - much easier to see them in London from Cumbria rather than Leeds (cross travel in North England no doubt has a separate thread). The whole programme was extremely well presented as others have set out so well above. I thought the Adagio Hammerklavier particularly memorable but would be very pleased to see the whole programme again. One criticism if I may: rather disappointing not to have live music for the Janacek (with the recording loud and muddy to my ears) but having said that, why was the Sibelius violin/piano amplified? I’m getting a bit more familiar with the Linbury following The Limit and now Generations but I don’t think amplification has been successful in recent visits. It’s a small, intimate theatre and I’m sure live music would be much better without amplification.

I’m not sure why you have a preference for Balcony sides rather than the centre block @Emeralds. I rather like A33 or A53 for sound, ease of access as aisle seats, and value for money as there’s a discount for the slightly restricted view given the safety rail to either the left or right depending on the seat. I certainly enjoyed the Ring from A 53 last cycle. For Standing, I think Balcony D33 astonishingly good which I had for Das Rheingold a few weeks ago. In the Stalls, I’d go for H3 or H4 (H5 and H6 tend not to be available until perhaps a week or so before the performance): upper strings/woodwind rather than brass/bases/percussion; sufficiently far back not to have one instrument dominate; above the side gangway so a clear view of the stage (unless exceptionally tall people are in row E); close enough to the stage to see faces and feet; and best view for curtain calls (unless audience members congregate on the stairs rather than exit). And having named these seats, it’s very good occasionally to sit in them.

I thought Saturday’s matinee excellent and am delighted the cast will be performing in the cinema relay. Mayara Magri and Matt Ball don’t often dance together at the ROH and I thought they made for a sparkling couple. They are having a fabulous Autumn and it’s been great to see them separately in Don Q with Marci Sambe and Yasmine Naghdi and in The Cellist (different casts). But I very much enjoyed seeing them dancing together: a pleasure to arrange flowers for them and offer congratulations at the Stage Door. As others have said the full cast were on great form, Calvin Richardson and James Hay particularly impressive. We’d been spoiled by the matinee and Saturday evening I thought took a bit of time to warm up in the village scene. But Meaghan Grace Hinkis and Luca Acri ended Act 1 with aplomb, the one arm lifts pretty clean. It may have been the angle I had for my line of vision (I was well to the right in the Stalls Circle) but I thought it looked as if Benjamin Ella’s (Espada) cape was going to win and Ella did very well to hold his final jump in his first solo. Calvin Richardson was a very impressive Gamache, all incredibly small steps - what a contrast to his Espada in the matinee. Being less absorbed by the performance compared to the matinee, I rather found the gypsy camp scene palled. But I thought Julie Roscoe (Queen of the Dryads) and Sae Maeda (Amour) lovely in the dream sequence. Meaghan Grace Hinkis and Luca Acri really came into their own in the Act 3 finale, a triumph and very good to see so many bouquets for Meaghan for such an important debut.

I very much enjoyed last night’s The Limit with Francesca Hayward and Alex Campbell and gained a lot more out of the production on second viewing and having caught up on the Insight. I thought Hayward and Campbell hugely engaging and cared that they’d find a way to make their relationship work. I was very taken with the effortless shifts from language to movement to simultaneous language and movement and thought Kristen McNally’s choreography worked well. Good to have a commissioned score and I found Isobel Walker-Bridge’s music pretty effective. I still thought the sound mix odd - why have any amplification for the music for such a small, intimate theatre and the newsreaders surely far too loud? That over-amplification meant some words were lost but I’m pleased to say I heard the vast majority of the text without much difficulty. Congratulations to all involved in this innovative piece of theatre.

I think Fumi Kaneko is only dancing Beatrice this time - not sure which cast. I’m hoping Olivia Cowley will reprise her spine-chilling Devil.

Thanks @LinMM. It’s very much the other roles where as @capybara says there’s been so little information. I guess we could all put together our preferred support cast list for the cinema relay.

Good to see the news for tomorrow evening’s Don Q but do we know who’s dancing in the matinee and I presume for the cinema relay?

Hi Carol - just to say I’ve sent you a pm in case you have a spare ticket. Many thanks.

Goodness me - Spring prices are a curate’s egg. Here’s a summary table: Production Top Price Balcony Central Block Restricted (eg A33) Stalls Circle Sides Bench Seats (eg B26) Amphitheatre Sides (Row E) Slips (max) Standing (max) Opera Dutchman/Lucia £210 £128 £93 £75 £93 £75 £47 £47 £23 %age of top price 61% 44% to 36% 44% to 22% 22% 11% Butterfly/ Carmen £245 £132 £97 £78 £97 £78 £49 £49 £25 %age of top price 54% 40% to 32% 40% to 20% 20% 10% Ballet Triple Bill £110 £67 £50 £50 £39 £29 £22 £16 £16 £9 %age of top price 61% 45% 45% to 15% 15% 8% Swan Lake £175 £118 £118 £96 £75 £55 £35 £23 £14 %age of top price 67% 67% 55% to 20% 13% 8% The good news for ballet - undoubtedly the inclusion of more price categories for front Amphitheatre Sides where a small number of seats are much more reasonably priced. This is very welcome and I’d like to think shows the ROH responding to concerns expressed by a number of people. Standing places are also reasonably priced - I thought there’d be pressure to increase standing place prices for Swan Lake but they are kept at £14. But there’s some very poor news regarding Stalls Circle bench seats, particularly for Swan Lake. Charging £118 for any bench seat is utterly wrong. This is the same price as the Balcony restricted view seats in the central block - excellent, comfy seats with a modestly restricted view, and fabulous sound. For the opera the maximum price for a Stalls Circle bench seat in the Spring is £97. And for opera there are two price categories for bench seats. For ballet there’s only one price category so all bench seats for Swan Lake are £118 - quite appalling. When Winter prices were announced and there were two price categories for the Manon bench seats, both below the Balcony restricted view price, I was hoping that the ROH had taken on board just how poor these seats are relative to the Balcony restricted view sears. But it seems that lesson has not yet been learned. At least the Triple Bill bench seats are less than the Balcony restricted view seats but there’s still just the one price category - £50 for all bench seats when ideally the ones nearest the stage would be a lower price category. The Triple Bill prices, similar to Anemoi/The Cellist, I think look reasonable but underscore just how expensive the current double bill is and the difficulties experienced in selling tickets at full price. There seems to be more stability about prices for opera than the ever changing patterns we see for ballet. I don’t know why there’s been such flux for ballet prices. With three lots of prices now published for 2023-24, I’d have thought ‘experimental pricing’ patterns should have stabilised. But I’m afraid it’s back to making the case for more reasonable pricing for the Stalls Circle bench seats … and ensuring that the better news for front Amphitheatre Sides seats doesn’t prove to be a ‘one off’.

Now the seat maps are published, I’ll take a good look at Spring prices and post some thoughts. I’m hoping there’ll be further evidence of lessons learned.

I saw Saturday afternoon’s preview with Hannah Rudd and Jacob Wye. I’m afraid I rather struggled with the acoustics as I found it at times very difficult to hear what was said despite the amplification (or possibly because of the amplification as I’m sure the piano, violin, cello and percussion all became part of the sound mix). I was in the middle of the upper circle so I was a bit surprised to find difficulties in hearing. The performances were though very engaging and there’s much to admire. I do hope there’s a bit more of a formal curtain call and proper acknowledgement to the musicians who surely should take a bow. But I think I’ll wait until I see Francesca Hayward and Alex Campbell next Friday before saying much more. I also think I’ll have to catch up on the Insights etc as I don’t really grasp when the word limit comes into play as the production is significantly more wordy than I expected.