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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    I do wonder how many people are spending less on incidentals at ROH as a result of the various increases and whether revenue is taking a hit. I know that I’ve gone from being a fairly reliable programme buyer to buying them as an exception (only the Ring so far this season). This isn’t just bloody mindedness: I can’t make my budget stretch far enough if I continue to buy them, what with the ticket price rises as well.
  2. Lizbie1
    Just booked! (And it was all very straightforward, thank you all for the advice!)
  3. Lizbie1
    I think what grates most about the price rises at ROH is the feeling that someone has looked for opportunities to squeeze a few quid more out of us at every stage of the process: buy your Romeo and Juliet tickets for £21 (against £14 for last year's Giselle and, I think, Manon); then if you need to re-sell one it's £4 (not £2); get there and buy a programme for £8 (not £7); buy a glass of champagne in the interval for £15 (against, IIRC, £12). I know that price rises are inevitable in the long run, but imposing them all at once and at the same time as the flashy Open Up Big Reveal may have been a mistake.
  4. Lizbie1
    I should add that the Hochhausers have at least once arranged for priority booking (not sooner than Friends but earlier than general booking) for people on their mailing list, so it might be worth signing up for that.
  5. Lizbie1
    They’re usually the same as for the ROH Summer season.
  6. Lizbie1
    I remember it from the BBC documentary about SPW a couple of years ago, that's all
  7. Lizbie1
    This one? https://www.imdb.com/title/tt5303950/?ref_=nm_flmg_dr_4
  8. Lizbie1
    It's listed as one of BRB's "ballets for hire" and of course there's a strong Sir Peter Wright connection, but I've no idea when they last did it. https://www.brb.org.uk/hires/production/green-table I too would love to see it.
  9. Lizbie1
    I’ve just checked the Charity Commission website for the ROH’s charitable remit. It is: ”Presentation of opera and ballet performances at the Royal Opera House Covent Garden and tours in the United Kingdom and overseas.” Seems simple, really.
  10. Lizbie1
    I always think of Don Q as home turf for the Bolshoi whereas Bayadere is the Mariinsky's, so the change actually makes a lot of sense to me. I know that some will be disappointed though.
  11. Lizbie1
    Never having been to a rehearsal, I’m curious: do they ever solicit feedback about this kind of thing?
  12. Lizbie1
    I’m just grateful that Spartacus and the Bright Stream have survived.
  13. Lizbie1
    But not in the Amphi sales point when I've been.
  14. Lizbie1
    But the problem is that they aren't displaying it - at least not consistently.
  15. Lizbie1
    I'd always remembered it as The House and thought I'd misremembered the title, so thank you for the explanation! I found it again on YouTube a year or so ago and watched it in one sitting, it was so fascinating. (Particularly shocking to me was the dismissive way the singer Denyce Graves was treated by one of the RO managers.)
  16. Lizbie1
    I understand they're applying the same policy to the Opera, so it seems unlikely it was KO'H's doing.
  17. Lizbie1
    It says it all that the picnic area was assigned a higher priority than the provision of somewhere to buy tickets. As it is, the Box Office hasn't yet acquired the status of afterthought, even.
  18. Lizbie1
    Is there reason to believe she didn't applaud her Bolshoi or Mikhailovsky colleagues similarly? She's always seemed rather humble in interview so I'd be surprised to learn that she was previously not considered a team player, the normal Bolshoi politics aside. I think I read here once that she speaks good English but is nervous about speaking it in interviews.
  19. Lizbie1
    Well that’s how it appeared to me.
  20. Lizbie1
    And when more than one poster is at it, it gives the impression that minority opinions are there to be shouted down.
  21. Lizbie1
    I think the former is beyond question!
  22. Lizbie1
    I don't disagree, but I think it's important to add that she made it very clear that the audience's awareness of this important distinction is a pre-requisite and not a basis for the ballet's defence - I'm not splitting hairs, there's a significant difference. We might take it as read that the audience knows this, but I don't believe that this has always been so, particularly in its native Russia.
  23. Lizbie1
    I'm not a fan of modern musical theatre singing, but in terms of the technique required there's a big difference between singing 6 or more live performances a week for a very long run and singing in the highly controlled environment of a recording studio. That might explain it.
  24. Lizbie1
    I was in the mid-Amphi on Monday and I didn't notice it apart from the times I was meant to. (Unless of course it *wasn't* there after all...)
  25. Lizbie1
    I'd say that's a fair summary, actually!
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