Jump to content

Lizbie1

Members
 View Profile  See their activity

  • Posts

    3,519

  • Joined

 Content Type 

Everything posted by Lizbie1

  1. Lizbie1
    Alas, that's now little more than the ROH.
  2. Lizbie1
    I watch less television and have seen fewer films than anyone I know, but many people whose judgement I respect who would disagree vehemently with that statement. Personally, I go to the ballet and opera for entertainment, and that can happen on a number of different levels for me. Others enjoy different forms of entertainment; that doesn't make their preference somehow shallower.
  3. Lizbie1
    You could be right, but why would a casual ballet or cinema goer anticipate a story of Mayerling's complexity? When a film is difficult to grasp without further background knowledge it's held to be a flaw, after all. (Which leads us back to the debate as to whether the libretto of Mayerling is suitable for ballet in the first place, and whether MacMillan told the story with sufficient clarity.)
  4. Lizbie1
    I’m not so sure - after all, we’re not in the age of people studying libretti before going to the opera: people now rather wouldn’t have the surprise spoiled. You wouldn’t expect to study the plot of a TV drama or a film before watching; why should a ballet be any different?
  5. Lizbie1
    Amazing news! I don’t want to take away from Northern Ballet, but the increased exposure for this ballet of being performed by a major company is so deserved: it seemed obvious that this is a work deserving wider uptake. It does makes me wonder anew at her continued absence from the RB’s roster, though...
  6. Lizbie1
    Unlike some others here I haven't seen the Shostakovich Trilogy, but I think of Ratmansky as being basically at the classical end of today's spectrum (and he certainly knows the classical lexicon). Perhaps Bruce Wall can advise?
  7. Lizbie1
    Serenade, I coincide exactly with your choices but loved Jane Eyre: it's still with me!
  8. Lizbie1
    Yes I noticed that for the first time too, but thought it probably meant that prices might be discounted if sales are slow, and that perhaps they were reacting to complaints from people who'd paid full price and wanted a part refund. (There's no basis for this, it was all in my head!)
  9. Lizbie1
    Am I imagining it or has there been a price hike? The lowest price for most of the things I want to see is £15, rather than the £12 I've become used to. I'm not really complaining, as it's still amazing value - unless they've re-thought the bands in the manner of ROH, of course...
  10. Lizbie1
    I'm indebted to RuthE for her master spreadsheet! I've just checked, and the ENB Wheeldon Cinderella at the RAH opens on 6th June.
  11. Lizbie1
    Yes: for RB the Firebird mixed bill (annoyingly) and a couple of R&Js. Not sure about ENB.
  12. Lizbie1
    Just spotted this! https://www.sadlerswells.com/whats-on/2019/san-francisco-ballet/ No fewer than four programmes, including a Ratmansky/Shostakovich feast and Cathy Marston's Snowblind - happy days!
  13. Lizbie1
    It's as if it hasn't occurred to them that people might book because of a cast change. I've been trying to cut them some slack, but I begin to wonder whether the people making these decisions know anything about their customers, or indeed their product.
  14. Lizbie1
    I might have to re-think the timing of my visit...!
  15. Lizbie1
    You could always get past this by recalling that the real Empress Elisabeth was very preoccupied with her looks and figure and their preservation
  16. Lizbie1
    Thank you, that's really helpful!
  17. Lizbie1
    Angela, sorry to trouble you for yet more advice, but in your view is it better to submit a written order for tickets or wait for online booking to open? (I've decided to take a chance on the production as I'll be in town anyway!)
  18. Lizbie1
    I'm sad enough to have checked, and it is dated 4 weeks after the paywall was introduced, if that's any consolation!
  19. Lizbie1
    You're right, but... for a lot of the people I imagine they're trying to attract, having to plan three months ahead for something they might give a 50:50 chance of enjoying could be what sees them not bothering at all. I'm lucky that I'm in a position to be able to plan my attendance far ahead - indeed I have to if I'm to fit everything in - but this hasn't always been the case, and I'm someone who prioritises ballet and opera.
  20. Lizbie1
    I wonder whether the ROH's new-found laxness about people bringing their own food and drink is due to the negative press reaction that ENO have had about issuing a blanket ban on the practice. ROH wouldn't want to spoil the "Open Up" messaging by then telling people they're only welcome if they buy from the clearly overpriced in-house places: the PR people really wouldn't be happy! Having sneaked in the odd furtive sandwich myself over the years (and never been challenged) I can see both sides, but there is a balance to be struck for patrons: personally speaking, my boundary is that I won't occupy a table if I haven't bought anything. If those bringing food in aren't even attending a performance, that's another matter altogether. The absence of bag checks worries me.
  21. Lizbie1
    I wonder how much this strategy has been influenced by Arts Council targets to do with age, background and new audiences? If the ROH has hit on increased prices as a way to achieve this, I think we can file it under "law of unintended consequences." Maybe it's worth letting ACE know about this as well (not that I'm a fan of theirs).
  22. Lizbie1
    But where's the harm in encouraging people who would otherwise feel put off or intimidated? I know these people exist! Forum members often talk about friends or colleagues who they've introduced to ballet: isn't what we're talking about essentially the same thing?
  23. Lizbie1
    I haven't looked into it, but a glance around the audience at the ROH could be considered evidence. I think it's more complicated than that, obviously (age and social background play their part too). I'd like to point out though, that my comments so far on this thread have been in reaction to people saying that racism and the perception of racism categorically *isn't* a problem in UK ballet and not me "searching" for a problem. If we're going to make this assertion, isn't the onus on us to provide evidence that it isn't, above and beyond the testimony of a couple of successful dancers?
  24. Lizbie1
    I agree on both counts, but I'd like as wide an audience as possible to enjoy ballet as I do and know that they are welcome.
  25. Lizbie1
    Lindsay, snap!
×
×
  • Create New...