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Lizbie1

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  1. Lizbie1
    The credits are for Xavier Ronze (costumes) and Paul Gallis (set).
  2. Lizbie1
    I thought the new Paris costumes (as Ballet Imperial) were beautiful. There are some pictures under "gallery" here: https://www.operadeparis.fr/en/season-22-23/ballet/george-balanchine#media
  3. Lizbie1
    I actually preferred her manèges to most dancers' fouettés.
  4. Lizbie1
    Can someone please explain what we're talking about?
  5. Lizbie1
    Can it be an accident that the top price (£5.25) is five guineas? That would be a fascinating hangover from the days when artists, being gentlemen of a sort, were paid in guineas rather than pounds.
  6. Lizbie1
    And it sounds fanciful, but I agree with Barrie Kosky in the Friends magazine: "Some energy from each performance seeps into the atmosphere." New houses, however well-designed (and that's not a given - look at the hopeless sightlines from much of the Linbury theatre) never have the same magic as an old one.
  7. Lizbie1
    My theory (and I don't really understand the law in this area) is that it's to exploit a loophole that says that if you leave a means open via which the fees don't have to be paid, they don't need to be rolled into the ticket price. It does make me appreciate ROH's very straightforward policy, though I live in fear that some bright spark will suggest they start loading fees onto the ticket price.
  8. Lizbie1
    One tip for SW booking: the Peacock box office is open for I think an hour before each show there. If you're in luck with the timing while in the area - maybe for something at ROH - you can buy your SW tickets in person there. (I don't know if they'll be charging the 50p "levy" in person.) I realise that this won't work for everyone (it doesn't always work out for me!) but it could help some.
  9. Lizbie1
    The loges higher up can be good value but with the important caveat that the rail/ledge (can't think of the right word) is alarmingly low - not much more than knee height - so the front row is definitely out for anyone with vertigo.
  10. Lizbie1
    I've had this problem at SW too - the seats further back in the 2nd circle aren't staggered either.
  11. Lizbie1
    But that wasn't what you said! It was that ROH was unique in the number of restricted view seats at high prices.
  12. Lizbie1
    That's not a definition of the West End that I'm familiar with - I must be very out of touch. Some of them could be included by a broader definition (and the Dominion is definitely West End) but a few of them are definitely pushing it IMO! Where did you come by that list? The point about diversity was in brackets because it was an aside, not part of my argument and it's probably best not to go down that rabbit hole. On the main point of comparing Wigmore Hall prices with ROH prices, the product isn't remotely similar - unless you're arguing that anything involving live classical music falls into one lump? - so I don't see how it's a valid argument to say "well the Wigmore Hall is cheaper", any more than it is to say that you could see a film in Leicester Square for less money.
  13. Lizbie1
    By chance I've just been looking at the La Scala website and I would beg leave to differ!
  14. 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.)
  15. 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.
  16. Lizbie1
    Interestingly, they're about to start trialling mid-week rail engineering week because of the shift to weekend leisure travel.
  17. 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.)
  18. Lizbie1
    It's also unclear how many of those are heavily reduced tickets for slow-selling productions.
  19. 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).
  20. 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
  21. 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.
  22. 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.
  23. Lizbie1
    That's almost certainly an editor's work.
  24. 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.
  25. Lizbie1
    Looking at the pricing information, I realised the Grand Tier has lost its "Donald Gordon" - did anyone notice when that happened?
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