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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    I think they have those in Vienna still, but don't know for sure. They do say the Germans (and presumably Austrians) take their pleasures seriously.
  2. Lizbie1
    You'll sometimes see these marked in German and Austrian houses as Hörerplätze (listening seats).
  3. Lizbie1
    But... unless something has changed at the RAH it is possible to buy a ticket without those fees if you do so in person - something they don't publicise. (I believe that the reason this option is available, as with the Coliseum, SW and other theatres, is so that they can claim that the "base" ticket price is legitimate by leaving a means by which you can escape them.) So it does leave you feeling somewhat cheated, and it also leaves you short-changed if you are owed a refund as booking fees are exempted in the RAH Ts and Cs. I know that venues have to recoup their costs somehow but the pretence that it is significantly cheaper for them if you book in person rather than online is not really credible. I think this is one instance where the ROH have it right.
  4. Lizbie1
    The comparison isn't exact, but I think it might be a bit like modern lyric sopranos and Mozart: it's very demanding technically and they often start off with his operas, then they get cast in Puccini and never return because it's relatively easy money and a well signposted big moment. (I like Puccini but he absolutely knew what singers wanted from him.)
  5. Lizbie1
    He really is!
  6. Lizbie1
    Are you ever on the area? It may be that there is no booking fee if you buy your tickets in person (see towards the bottom of this page: https://www.theatremonkey.com/venues/royal-albert-hall).
  7. Lizbie1
    How many companies are doing the version under discussion? I can only think of Ballet West and Zurich.
  8. Lizbie1
    I recently saw a clip of Danny la Rue saying, in so many words, that he's never playing "a woman", he's simply acting, playing a character: whether it's a woman or a man is immaterial. He referenced Dustin Hoffman in Tootsie as another example of this.
  9. Lizbie1
    I agree that Kitri wouldn't suit Hayward. But then (as another poster above said) I don't think Don Q suits the RB generally.
  10. Lizbie1
    Well - I've got both my tickets, though not without incident: one of the requests for payment had sat in my spam folder since Wednesday. Many thanks again to Angela for guiding me through this process!
  11. Lizbie1
    Me too! Ashton, the great manipulator!
  12. Lizbie1
    The thing is, I don't generally see it through this filter. The imbalance at the RB was just sufficiently obvious to make it difficult not to pick up on it.
  13. Lizbie1
    Those main stage commissions were a very long time coming - and only did come after the press started asking questions. Prior to that, under O'Hare and I think Mason also (I don't exempt her from criticism) female choreographers were relegated to other stages and spaces. This would have been less glaring had the quality of work from many of the male choreographers who received main stage commissions during the same period been higher.
  14. Lizbie1
    I gave his Carmen a miss so have only seen the Nose, which was entertaining but not a very good opera. Some people adore his work. I think the Glyndebourne Saul is much liked? Yes, agree that the Keith Warner Ring was not a feast for the eyes. Besides, I have a mental list of modern opera production clichés and too many of them applied.
  15. Lizbie1
    I like and admire ETO a lot but sometimes they bite off more than they can chew! (If you fancy a jaunt to Paris, there's a very good cast for Cesare next season.)
  16. Lizbie1
    I've argued quite strongly here that women choreographers, present and past, have been neglected of late by the RB. As there are no new main stage productions (a good decision IMO) the near absence of "present" female choreographers is difficult to complain about. The ongoing neglect of de Valois and Nijinska does reflect badly on the current management but again I don't think this is the right season to kick up a fuss about it. KO'H has done a very good job on the whole - the current stability and quality of the RB speaks to that. I just wish he would do something about his most obvious blind spot.
  17. Lizbie1
    I read recently in Opera magazine (the gossipy page) that there's a new Tosca planned for 24/25, which seems perverse. I was interested also to see that the Kosky Carmen is to be replaced already - you'd expect a Carmen production to last a decade or more, surely.
  18. Lizbie1
    Good! It is a wonderful opera, but so distressing - I always find myself praying for a different ending!
  19. Lizbie1
    Yes it is! I imagine you're thinking of the McVicar production, which had the usual assortment of attention-seekers drafted in. This production is by Oliver Mears - it opened the first full post-Covid season.
  20. Lizbie1
    It seems unlikely they'll stage a gala in the Linbury.
  21. Lizbie1
    The article linked to earlier talked about a joint gala performance ('The two companies will join together for a gala performance in which Sarasota dancers will perform “Valses,” “Façade” and “Varii Capricci”'), which may take some of the pressure off. I don't know whether this is an additional date or one of those already announced for the main stage. My money would be on the 7th June as this is an outlier, date-wise, for the second main stage Ashton programme.
  22. Lizbie1
    I thought they were both fine. Not earth shattering, but did the job well and didn't get in the way of the opera or the singers. (That's all I ask for, in general.)
  23. Lizbie1
    There's 4th October for Winter (including Manon) as well.
  24. Lizbie1
    I find this an odd, perhaps snobbish, thing to say. Surely the fundamental problem with Different Drummer is that people didn't like it (granted the bleakness may have a lot to do with that). Wouldn't most "people who think ballet is just Swan Lake" just be put off trying anything different again?
  25. Lizbie1
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