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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    This will sound very negative but its composition at least allowed me to have no regrets about not going (other than missing Morera's farewell of course).
  2. Lizbie1
    I'm not sure it's that well-intentioned! There was in interview with Kasper Holten a few years ago where my main impression was that we need to put up with this barrel of Regietheater cliches so that Kasper isn't bored. (I don't mind good Regietheater but a lot of it is just duff and unimaginative.) My reading is that there is a prevailing taste among superintendents for this kind of thing and the audience is a lesser concern. I do get the impression that Oliver Mears is a little more inclined to compromise on this than his predecessor, but time will tell.
  3. Lizbie1
    Top price for the Sleeping Beauty rehearsal was £26.
  4. Lizbie1
    According to the Magazine: Don Quixote 30 September 12.30pm Anemoi/Cellist 20 October 12.30pm Dante 17 November 11.30am Nutcracker 5 December 11.30am I can provide opera dates too if you like.
  5. Lizbie1
    Returning to the timings and interval question: the ROH page now says: RUNNING TIME This performance will last approximately 2 hours, including two intervals. APPROXIMATE RUNNING TIMES: Act I: Emeralds : 30 minutes Interval : 20 minutes Act II: Rubies : 20 minutes Interval : 20 minutes Act III: Diamonds : 30 minutes (I'm slightly sceptical of these timings - is the ROH capable of keeping to a 20 minute interval? They usually have more leeway in the Act timings - and would allow a bit extra.)
  6. Lizbie1
    No exactly a laugh a minute, but it was well done.
  7. Lizbie1
    The 50p per ticket levy was indeed added, but no other charges.
  8. Lizbie1
    WW enjoyed as a spectacle. I didn't think much of Winter's Tale. I like a lot of abstract choreography very well and I'm OK with a lot of the music though I find the repeated use of Joby Talbot a bit of a mystery (I think his music is straightforwardly boring rather than distinctive). I assume Wheeldon finds him good to work with, which does count for something. My problem is with the quality of the choreography itself, which I don't think is in the same class as, for example, Forsythe or Ratmansky. I find McGregor limited and repetitive, but I'm happy enough to watch his shorter works "in the moment" (though I'm not keen on the overuse of manipulating the women into extreme positions). Wheeldon is IMO bland for the most part, OK sometimes and wilfully ugly at others. I don't normally air all this because I realise it's down to personal taste, but since I was asked...
  9. Lizbie1
    I'm not a fan of either Wheeldon or McGregor, so I have a question for those who have enjoyed their ballets. Is there a sense of diminishing returns with their one-acters? I get the impression from a lot of the discussion here that, setting full length ballets aside, their earlier works are more appreciated. Perhaps they've just run out of things to say outside of a full length narrative (narrative-ish in McGregor's case) framework.
  10. Lizbie1
    Have you tried right click > open link in new tab?
  11. Lizbie1
    Wasn't the point about works that were once controversial but have subsequently been acknowledged as masterpieces? Because though Stravinsky's score is now canonical, Nijinsky's choreography for it isn't.
  12. Lizbie1
    Because it was the choreography rather than the music that caused the riot (or so I was taught).
  13. Lizbie1
    ...and I've just found the cast sheet, which says that the Who Cares? sets are presented with the authorisation of DNB; and that the sets and costumes were made by the ONP studios with the exception of the Who Cares? sets.
  14. Lizbie1
    The credits are for Xavier Ronze (costumes) and Paul Gallis (set).
  15. Lizbie1
    I thought the new Paris costumes (as Ballet Imperial) were beautiful. There are some pictures under "gallery" here: https://www.operadeparis.fr/en/season-22-23/ballet/george-balanchine#media
  16. Lizbie1
    I actually preferred her manèges to most dancers' fouettés.
  17. Lizbie1
    Can someone please explain what we're talking about?
  18. Lizbie1
    Can it be an accident that the top price (£5.25) is five guineas? That would be a fascinating hangover from the days when artists, being gentlemen of a sort, were paid in guineas rather than pounds.
  19. Lizbie1
    And it sounds fanciful, but I agree with Barrie Kosky in the Friends magazine: "Some energy from each performance seeps into the atmosphere." New houses, however well-designed (and that's not a given - look at the hopeless sightlines from much of the Linbury theatre) never have the same magic as an old one.
  20. Lizbie1
    My theory (and I don't really understand the law in this area) is that it's to exploit a loophole that says that if you leave a means open via which the fees don't have to be paid, they don't need to be rolled into the ticket price. It does make me appreciate ROH's very straightforward policy, though I live in fear that some bright spark will suggest they start loading fees onto the ticket price.
  21. Lizbie1
    One tip for SW booking: the Peacock box office is open for I think an hour before each show there. If you're in luck with the timing while in the area - maybe for something at ROH - you can buy your SW tickets in person there. (I don't know if they'll be charging the 50p "levy" in person.) I realise that this won't work for everyone (it doesn't always work out for me!) but it could help some.
  22. Lizbie1
    The loges higher up can be good value but with the important caveat that the rail/ledge (can't think of the right word) is alarmingly low - not much more than knee height - so the front row is definitely out for anyone with vertigo.
  23. Lizbie1
    I've had this problem at SW too - the seats further back in the 2nd circle aren't staggered either.
  24. Lizbie1
    But that wasn't what you said! It was that ROH was unique in the number of restricted view seats at high prices.
  25. Lizbie1
    That's not a definition of the West End that I'm familiar with - I must be very out of touch. Some of them could be included by a broader definition (and the Dominion is definitely West End) but a few of them are definitely pushing it IMO! Where did you come by that list? The point about diversity was in brackets because it was an aside, not part of my argument and it's probably best not to go down that rabbit hole. On the main point of comparing Wigmore Hall prices with ROH prices, the product isn't remotely similar - unless you're arguing that anything involving live classical music falls into one lump? - so I don't see how it's a valid argument to say "well the Wigmore Hall is cheaper", any more than it is to say that you could see a film in Leicester Square for less money.
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