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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    No mention of the grand défilé?
  2. Lizbie1
    I thought it was OK.
  3. Lizbie1
    I agree, he has always been exceptionally helpful and courteous when he's answered my questions. I've never knowingly met him or spoken to him but he's a real asset IMO: always makes you feel worth his time.
  4. Lizbie1
    Nor I!
  5. Lizbie1
    Are all the standing places £26 or are those in the Rear Amphi/Lower Slips cheaper?
  6. Lizbie1
    Here:
  7. Lizbie1
    That's odd because IIRC this was the price published in the Friends magazine (I don't have it with me but it was discussed on this forum).
  8. Lizbie1
    If memory serves it's quite a dull production? And with a somewhat distracting water feature (though indeed not a urinal!) in one of the acts. It's not my favourite opera - or my favourite Massenet opera - so my memory may not be reliable.
  9. Lizbie1
    I would read it but it's more enjoyable speculating about the URL instead.
  10. Lizbie1
    I don't see that this is so? It just means (and I don't wish to open old wounds) that, like others here, he's not keen on naming a ballet thus. You don't have to be ignorant of Herrera's work or McGregor's source of inspiration to think that. (In fact I read it as him being fully aware of both.)
  11. Lizbie1
    and 80s!
  12. Lizbie1
    The McGregor costumes remind me of Pacers.
  13. 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).
  14. 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.
  15. Lizbie1
    Top price for the Sleeping Beauty rehearsal was £26.
  16. 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.
  17. 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.)
  18. Lizbie1
    No exactly a laugh a minute, but it was well done.
  19. Lizbie1
    The 50p per ticket levy was indeed added, but no other charges.
  20. 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...
  21. 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.
  22. Lizbie1
    Have you tried right click > open link in new tab?
  23. 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.
  24. Lizbie1
    Because it was the choreography rather than the music that caused the riot (or so I was taught).
  25. 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.
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