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  1. Can anyone remember how accurate the given running time of 2 hours 30 minutes (including 2 intervals) for Onegin is likely to be? I don't want to chance it too much with booking a fixed ticket to get home.
  2. If I could justify the ticket price and train fare I'd be all over these: Sunday 27 October 2019 - Foyer de danse (1932) with Christopher Newton and Ursula Hageli and Le Papillon variation (1975) with Wayne EaglingSunday 23 February 2020 - Voices of Spring (1977) with Merle Park and Wayne Eagling Link: http://www.frederickashton.org.uk/news.html#forthcoming
  3. I agree with the first paragraph; but as for the second I don’t think anyone should consider Tsiskaridze a neutral observer - or indeed stickler for facts - entertaining though his pronouncements may be. (And you have to question how his opinions stack up against the evidence of certain notable Russian dancers’ preference for Gaynor Mindens.)
  4. Crikey that’s a big jump! £24 down to £22 for me, and I think the top price was £285 (?) last time rather than £275. Sounds like your seat is a casualty of a pricing band re-think
  5. It's actually slightly cheaper than last season's Forza, I think, and there are generally fewer than a handful of productions which are priced as expensively each year. I do have sympathy with what you're saying, but I think for most people as ever it just comes down to priorities. And please remember that ROH isn't the only opera game in town!
  6. On a related note... I can't see any sign that they're planning to put any special restriction on the number of Fidelio tickets people can buy. After the Forza debacle, surely this would be unwise?
  7. The Traviata is a 25 year old production which is not cast very starrily (it seldom is these days at ROH). While the Boheme production is only a couple of years old, there has already been a lot of performances, the production doesn't seem to have inspired the affection its predecessor did, and sales have been OK but not outstanding so far as I can tell. Casting is again a bit so-so: Yoncheva and Castronovo are certainly names to opera regulars but I'm not sure how many tickets will be sold on the back of their presence. (FWIW I like Castronovo a lot, and think Yoncheva once showed plenty of promise but has been reckless with her repertoire choices.) Fidelio on the other hand is a new production, which tends to bump the price up substantially for opera at least. Kaufmann is a big draw and he is very good indeed in this repertoire; but there is also a lot of hype around Davidsen - completely justified IMO - and as this will be her first Fidelio there will be plenty of interest from that angle - she's the main reason I'm planning to go, and I know others of the same mind. Additionally, it's been a while since Fidelio was on at ROH and while my personal view is that it's a dog's breakfast of an opera (the composer at both his best and his worst) Beethoven fans will be keen to see it. So for me, the justification for high prices is about as good as it gets. I don't think they'll have any trouble shifting tickets, so if I were you I'd prioritise it when booking opens. I doubt you'll be able to get the good Balcony standing tickets for it so I'd head straight to the amphi/slips part of the map.
  8. Also: if you've not sat there before, the drop in front of you down to the stalls below is a bit disconcerting at first. People do adjust quickly though, unless heights are a particular worry. (I'm not fond of heights - am very cautious on cliff paths etc - but have no trouble with the upper slips.)
  9. The problem with the back of the upper circle is that the seats are not staggered at all, so you are directly behind the person in front's head. I'm not sure if this is the case for the front of the upper circle - I think it might kick in from about Row E. It certainly becomes a problem by Row M, where the cheap seats are (so I can't complain too much). I'm average height for a woman, and have had trouble with this more often than I'd expect from a modern - and purpose built for dance - theatre; the rake is quite sharp, but not sharp enough to offset such obstructions because of the high viewpoint. (i.e. the rake is about as sharp as the viewing angle when you're that far back.)
  10. I can't answer for wrt standing places but I've never had trouble with seeing surtitles from either lower or upper slips seats - I haven't sat in front row upper slips seats nearest the stage but think they should be OK. The lower slips seats nearest the stage have small screens on the ledge in front of you, which you can turn off if you find them distracting. A couple of other things: lower slips seats are more comfortable but the sound in the upper slips is IMO the best in the house; and, all other things being equal, go for the front row seats as far away from the stage as possible.
  11. Mary - I’m inclined to agree. Unless things have changed for the better recently, independent travel to Moscow is not straightforward: when my family came to visit leaned on some Russian-speaking colleagues for help; and I know that others concluded it was easier for their families to visit on organised tours. (The ballet tickets were the easy bit - but I knew the ropes and was on the spot, and prices were of a different order to today’s.)
  12. My loyalties lie with Moscow so I'm biased! St Petersburg is better geared up for tourists and is indeed beautiful, but to me Moscow is more, well, Russian - really fascinating and with buildings of note from both the early Tsars to the Stalinist era (the Seven Sisters - Moscow State University particularly - are a striking part of the skyline). The Pushkin and Tretyakov museums are not to be sneezed at, either. (Repin's famous portrait of a dishevelled Mussorgsky at the latter is a personal favourite.) Everyone will have their own preference though!
  13. If you’re thinking about early May worth checking about the Victory Day parade (9th May) in Moscow - terrific fun to be in the area when I lived there 15 years ago but I don’t know what restrictions it places on access and travel.
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