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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    It's finally arrived on the production page but is currently greyed out. Isn't this exciting! Update: it's gone again!
  2. Lizbie1
    And the ROH is learning the hard way that nothing gets past this forum
  3. Lizbie1
    I know what you mean - perhaps it would have worked better to start off with the Gamzatti variations.
  4. Lizbie1
    Does that mean the ROH has confirmed that the Sat 1st June matinee will take place? It isn't on the production page yet.
  5. Lizbie1
    Well: the 7th June matinee is now showing as greyed out and "Not available" on the production page, but it doesn't say it's a Schools Matinee, unlike the other two greyed out dates. There's no 1st June matinee listed yet.
  6. Lizbie1
    It all reminds me of nothing so much as the V&A ad campaign in the late 1980s pushing it as "An ace caff with quite a nice museum attached" - IIRC that story didn't end well.
  7. Lizbie1
    Sorry for the confusion: we’re trying to establish which of the 1st and 7th matinees exist and, along the way, there was a suggestion that Naghdi/Ball would be appearing on 1st June in the evening.
  8. Lizbie1
    It seems highly unlikely to me that Osipova/Hallberg would be dancing in a non-Bank Holiday Friday matinee.
  9. Lizbie1
    Sorry, I should have been clearer: I meant I’ve never had to show my ticket again if I haven’t been outside.
  10. Lizbie1
    That’s strange. I have always had both dates in my spreadsheet, I’m fairly certain. (I won’t go into the boring mechanics of why I don’t think this is my memory playing tricks.)
  11. Lizbie1
    Does anyone know why there’s a 12 noon Romeo and Juliet listed on the production page for 7 June, when it’s not listed on the pdf? It’s not showing as unavailable to the general public as 28 March and 23 May (matinee) are.
  12. Lizbie1
    Nor I, but I think it’s usually up for a few days before they email it round. What might have made it more noticeable this time is that usually (I think!) casting is up on the website before the pdf sheet is available.
  13. Lizbie1
    I don’t think I’ve ever been asked for my ticket after an interval, anywhere. It seems very unconventional! The last thing I want is longer intervals, they seem to overrun routinely as it is.
  14. Lizbie1
    From https://www.telegraph.co.uk/culture/music/opera/11213400/Royal-Opera-House-redevelopment.html “The cost of Open Up is currently estimated at around £35 million (for the 1990s redevelopment, the figure was £214 million), and Chief Executive Alex Beard has affirmed that no call will be made on the public purse or the Lottery: all moneys will come from private sources.“
  15. Lizbie1
    Hayward and Corrales in Romeo and Juliet! 😍😍😍
  16. Lizbie1
    Perhaps one answer is to apply more widely the occasional restrictions we see on how many tickets an individual can buy for a run; this could then be relaxed, say, a month before the performance. Not everyone would be happy, but if they are principally concerned about the cheap seats being bought by the usual suspects before newbies get a look in, this way would seem more closely aligned with their intention.
  17. Lizbie1
    Yes indeed - that's the https://www.roh.org.uk/events/2jz77 link that Yumiko shows twice. But how could a casual visitor guess that there's more casting information available? And it's plain that there are problems with the system, if it can't even display the same information on the same page when logged in and logged out.
  18. Lizbie1
    Taking the first link https://www.roh.org.uk/productions/the-royal-ballet-school-by-liam-scarlett if I'm logged in - I'm a Friend, if that makes a difference - it shows NO casting information (nor the conductor!) apart from "The Royal Ballet School" on all three dates. If I'm logged out it displays "Conducted by Barry Wordsworth" for all three dates, and 12th: TBC, Cuthbertson, The Royal Ballet School, Muntagirov, Morera 14th: TBC, The Royal Ballet School, Orchestra of the Royal Opera House 16th: The Royal Ballet School, TBC, Stix-Brunell, Takada, Choe !!!
  19. Lizbie1
    It's a shambles. The most generous interpretation is that they're struggling with the two CMSs (legacy and new) that they've been saddled with, but if that's the case, what does it say for the programme to implement the new one, which, judging by the amount of time it's taken and its lack of progress, must be over-budget by now? (I believe it's being developed in-house: please correct me if I'm wrong.) The template for individual performances has clearly been designed without consideration for mixed bills, which is a pretty shocking oversight, and by the looks of it, things such as casting information, which you'd expect to see detiving from a single source of information, are being entered manually on different pages. I'd love to know how much has been spent on it, but I doubt the annual report will offer any transparency on the matter.
  20. Lizbie1
    I'm pretty sure others from my school (though not I) went to see Mayerling at a Schools Matinee in what was either the late eighties or early nineties, as I can remember reading with envy the special programme that was printed for it. Manon too. I believe they are aimed at older schoolchildren, 13+ or so.
  21. Lizbie1
    One thing that I haven't seen discussed in all this is the ROH's role as a "gateway drug" for opera and ballet, and I don't know whether it's even considered by the Arts Council when it sets its agenda-driven targets. Become a regular at the Royal Ballet and the chances are that you start to seek out less well-patronised companies, who really could do with the extra support that the ROH seems so casual about throwing away; and similarly for opera. That's how it happened for me, and for others I know. Without getting firmly into the habit of ballet-going at the ROH, I'd never have considered a trip to Canterbury specifically to see The Three Musketeers, as I will make in a couple of weeks; or to Leeds to see Jane Eyre and the MacMillan mixed bill; or to Shrewsbury for the BRB Midscale tour. I could go on!
  22. Lizbie1
    Just happened on a showing of this in Hampshire, between Farnborough and Basingstoke, on 31st October. Tickets £13. http://whatsonvictoria.co.uk/event/english-national-ballet-akram-khans-giselle/
  23. Lizbie1
    Any idea when Spring casting will be out? I'd like to see the Romeo and Juliet casting before booking for Spring at Sadlers Wells, which opens to the public on 5th November.
  24. Lizbie1
    Sure, but my original point was more that no-one expects prior study to be a pre-requisite for enjoyment and understanding, though it can enhance them.
  25. Lizbie1
    That TV dramas and films "don't bear continual repetition".
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