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Lizbie1

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  1. The latest Friends email says: "Meanwhile, we are currently finalising details for the 2020/2021 Royal Opera House Season. Once everything is confirmed, we will share full details with you in the early spring ahead of sending you your exclusive members’ Season Guide and Handbook, alongside your first magazine of the new Season, in mid-April." So a bit earlier than last year.
  2. What a lovely feature - Julie Etchingham's love and understanding of ballet really comes through. I often complain about the ROH press office but I think they've done a great job with this commission.
  3. From everything I've read about duelling, deloping - firing into the air - meant an admission of guilt* and aiming to miss was considered very bad form as it implied contempt for the opponent. I know it sounds pretty odd to the modern mind, but duelling itself is pretty weird if you ask me! IIRC at least some of the Heyer duels had one duellist aiming merely to injure rather than miss entirely - I imagine that was considered an acceptable fudge. One other point of interest is that if both duellists missed the first time, they would then very often have another go, as happened in the Castlereagh/Canning duel. So even if Onegin had tried to miss, that wouldn't necessarily have been the end of the matter. *The Earl of Winchilsea deloped in his duel with the Duke of Wellington, then issued a formal apology.
  4. It occurs to me that there are occasions when a dancer or company might have good reason to draw a veil over the reason for a cast change. I don't think I, as an audience member, have a right to know what that reason is. If the UK companies had a reputation for unnecessary cast changes I'd probably feel differently, but they don't so I'm content to trust their judgement. (I do agree however that they could be better at notifying people that there will be a cast change.)
  5. I'd have thought the women being there would be much more of a problem for them as not only is it anachronistic but it changes the whole nature of the scene in a way the seconds' and surgeon's absence doesn't. But then, maybe their thinking was that the ladies being active participants *justifies* the anachronism.
  6. Mention of the Hochhausers (who are promoters, not sponsors) reminds me: if we're talking about the "true cost" of ballet, the Bolshoi and Mariinsky London seasons aren't a bad place to start to make a comparison. I think Lillian Hochhauser has said that they don't attract much sponsorship and the Hochhausers don't make much money out of it; and the ticket prices cover a large corps and full orchestra and the costs of bringing the production over and accommodating everyone fof the three weeks. (I don't know what rank and file dancers and players earn in Russia - presumably less than at the RB, but then accommodation and transport costs would be on top of that.) I guess what I'm saying in a roundabout way is that you can see a lot more performers for a bit less money (bearing in mind those Hochhauser seasons are about the top end of what we're used to here) when the Bolshoi or Mariinsky visit, and that's more-or-less unsubsidised. There are production costs to factor in of course - I've no idea what they came to with this Romeo and Juliet - maybe it's a lavish set?
  7. Royal Opera House, not the Royal Albert Hall - FionaE mentioned them in the post I was responding to.
  8. I don't want to be so relentlessly negative, but I can see myself giving this a miss regardless of what the new commission is or where it tours to... unless of course there's a really good third ballet.
  9. ROH's most recently published annual report breaks down its income for 2018 as: 33% ticket sales 18% public subsidy (ACE etc) 21% "commercial and other" (presumably shops, catering and DVDs etc) 23% fundraising 4% Open Up fundraising 1% investment income Which is a pretty low rate of public subsidy by European standards. I'd expect ENB to receive a higher percentage. One question is: how much of that ACE grant effectively goes straight out of the door again in activities designed to please ACE?
  10. I love the music! But then I'm a sucker for Tchaikovsky.
  11. My beefs about Act 2 aside, I agree! I think the best Ashton ballets have that "Swiss watch" quality, where every moving part fits together precisely as a seamless whole - and Onegin has something of that too. The "lightness" is IMO all on the surface.
  12. Exactly - and at the party in her honour (equivalent to her birthday party) as well!
  13. I think it's a terrific ballet but I have real problems with Act 2. Firstly, unless very well done indeed, Onegin's angry rejection of Tatyana and the seemingly motiveless flirtation with Olga offer a more callous Onegin than Pushkin invented or makes sense - why would the wonderful, intelligent Tatyana still love him after that display of character? Secondly, I really dislike the way the duel scene somehow becomes the property of Tatyana and Olga, not just because it takes the focus away from where it belongs but because it's like something out of a bad melodrama.
  14. I wouldn't call myself a BRB regular, but what depresses me about their recent programming is the feeling that - full-length classics aside - they're ignoring this fabulous wardrobe of vintage couture in favour of things they picked up at Matalan or Asos and will be sending to the charity shop in a couple of years. I know that ballet companies can't get stuck in the past and that there are many factors at play, but the last BRB mixed bill I felt enthusiasm for was three years ago.
  15. I'm a bit confused by this part of the article: "In 2021, BRB will ... tour to smaller towns and cities that may not usually see ballet at this level." Does this mean we can expect something along the lines of the midscale tours to be announced or does it refer to the Cinderella tour? Edit: I've just seen that this refers to the midscale tour in May.
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