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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    By chance I've just been looking at the La Scala website and I would beg leave to differ!
  2. Lizbie1
    I don't think you can in any way make a fair comparison of Wigmore Hall prices with ROH. The operating costs are on a completely different scale. RFH pricing is perhaps a closer comparison but there are more differences than similarities to ROH IMO (it's not a direct employer of an orchestra/chorus/corps de ballet for starters). Also: we complain *a lot* about lower level Friends and non-Friends having slim pickings when booking for popular productions, but the WH is notorious for selling out completely before even lower level Friends get a sniff at certain dates. (It's also probably the least diverse audience I've ever seen, for which it never seems to attract the public criticism that ROH does.)
  3. Lizbie1
    I take the first point but as to the second: a) I think they're trying to find out what the market can bear and b) the higher prices might be more than covering any lost revenue due to unsold tickets, as discussed previously. I think they're making a mess of it in some ways (e.g. the inconsistencies JohnS has been writing about) but I do cut them some slack as it can't be fun trying to balance the books.
  4. Lizbie1
    Interestingly, they're about to start trialling mid-week rail engineering week because of the shift to weekend leisure travel.
  5. Lizbie1
    I think it's great that they're trying to get young people into the habit of going. If one out of fifty ends up being a regular, that's a good result in my book. And would we rather see those seats going begging? (I speak as someone who also missed out on cheap tickets in my youth.)
  6. Lizbie1
    It's also unclear how many of those are heavily reduced tickets for slow-selling productions.
  7. Lizbie1
    Just one note: while this is interesting analysis some here might want to know that this is quoting the SCS standing prices - there are lower prices for standing tickets elsewhere in the auditorium for all apart from Don Q (and I'm beginning to think this might be an error).
  8. Lizbie1
    One of the things that interests me is that the opera pricing structure* has remained fairly consistent, whereas for the ballet it is all over the place. *By which I mean which seats are in which bands, how the lowest price relates to the highest, etc. but not necessarily the prices themselves
  9. Lizbie1
    But for the big shows at least, they're selling faster than the top priced tickets. We may not like the pricing strategy but it is rational.
  10. Lizbie1
    Agreed, and on the back of a longer trend for these tickets to have proportionately bigger increases, it is dispiriting. It also makes it easier to decide not to see something you were on the fence about. I understand why it's happening though: higher priced tickets have been shifting more slowly recently, so I suppose they've decided they're at the limit of what people will pay.
  11. Lizbie1
    That's almost certainly an editor's work.
  12. Lizbie1
    Judging by the amphi and slips pricing (which I'm familiar with the lower end of), £26 may be the price for SCS and balcony standing. We'll see.
  13. Lizbie1
    Looking at the pricing information, I realised the Grand Tier has lost its "Donald Gordon" - did anyone notice when that happened?
  14. Lizbie1
    They won't publish the Ashton pricing till next year. Don Q pricing is (no seat maps!): Stalls: £150, £125, £104 SC far sides: £52, £36, £26, £14 SC: £150, £125, £104, £83, £67, £52, £36, £26 Grand Tier: £150 GT boxes: £150, £104, £67 Balcony: £125, £104, £83, £52, £26 Balcony boxes: £52 Slips: £26, £14 Amphi: £104, £83, £67, £52, £36, £26, £14 (Copied manually so there may be the odd error!)
  15. Lizbie1
    I've finally read the review. I don't know how many here are familiar with RC's opera criticism, but I felt this was in the same vein: constructive criticism. Art needs reviewers to be critical friends, not cheerleaders. I feel like I'm his repeat defender on this forum, but while I often disagree with his opinions I would not question his right or qualifications to have them. My view of him is that he's a thoughtful reviewer, always striving to see things with the fresh eyes of an average punter and taxpayer (more so than most reviewers IMO). Underpinning this is decades of watching ballet both at his own expense and as a professional reviewer. And as has been pointed out above, he's writing in the Spectator, which has/had the reputation of paying peanuts but allowing its writers latitude to say what they really think. Also: he was there; most of those criticising him here were not.
  16. Lizbie1
    I'm glad I don't have my heart set on seeing Rheingold!
  17. Lizbie1
    My reading of the word "troubled" in the quote provided above is that it was meant ironically.
  18. Lizbie1
    IIRC they did not impress this forum first time around.
  19. Lizbie1
    I agree with a lot of this, but the SF programmes were all new works and still sold slowly - and I don't see a Balanchine-focussed NYCB visit struggling. I don't know enough about Spalding to judge and I've never seen him criticised but I don't think that the amount of influence he has (not just his SW "tastemaker" status but routinely sitting on appointment committees and so on) is healthy.
  20. Lizbie1
    I know others feel differently, but I do find it frustrating that when prominent companies tour to SW they often prefer to bring their newer repertoire rather than the things they're best known for. (I don't know if that's partly a SW preference as well.) I can understand that they want to show off new works and different dimensions but...! The Alvin Ailey visit feels like an outlier in this respect.
  21. Lizbie1
    7th to 10th March - it's up on the SW website (weird URL though!). https://www.sadlerswells.com/whats-on/__trashed/
  22. Lizbie1
    It's a funny thing about ENB that they have all these ranks but often seem to give quite important parts and even first nights to people lower down the pecking order. I'm thinking particularly of James Streeter as Albrecht in the Akram Khan version, but there are some favourite dancers who regularly dance lead roles and aren't Principals. I rather like this about ENB, but it does raise questions about why some have not been promoted.
  23. Lizbie1
    I don't see why not. When Minotaur was put on last year it was the same three (contemporary) dancers throughout. If Ball and Cojocaru were only to appear in the new piece, which is admittedly unclear, it wouldn't be a long evening for them.
  24. Lizbie1
    And more Brandstrup news here.
  25. Lizbie1
    Quite a coup for the Theatre Royal here: https://www.theatreroyal.org.uk/event/metamorphoses/ For those who don't know it, the Ustinov is the small theatre - all seats have a good view as far as I know but there aren't many of them.
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