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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    There is nothing about this that I like.
  2. Lizbie1
    This is how I feel about Wheeldon's later work for the RB in general.
  3. Lizbie1
    Wasn't there an earlier explanation from Sarasota about this?
  4. Lizbie1
    It's really tiny, definitely smaller than the Almeida. This link should take you to a booking page for another production so you can see for yourself. https://www.theatreroyal.org.uk/book-online/?performance=322006 Edit: I've just counted: 126 seats total.
  5. Lizbie1
    Actually I find it reassuring that AI, in what is probably its most straightforward and profitable application (targeted advertising), is so bad at figuring me out!
  6. Lizbie1
    I can see "VARRI CAPRICCI" (though, true to Muphry's law I had a typo in my post!).
  7. Lizbie1
    I do so frequently because access to and egress from the right hand side of the upper tiers is so inadequate and slow. This might be why they don't try to block it off - presumably it's in the calculations for how many people can be evacuated.
  8. Lizbie1
    That is a very good way of expressing how I feel about certain contemporary choreographers (I don't know enough Béjart to form an opinion about him).
  9. Lizbie1
    I'm of a similar mind and agree with this, and that the view is quite distant, so that might not suit everyone. One gripe: I haven't looked at Hippodrome prices recently but it was always my experience that they start relatively high for ballet and opera (upper end of the £20s), compared to other theatres where you could see the same show.
  10. Lizbie1
    I don't know what the answer is in this case, but the equation of fatness or indeed ugliness with wickedness* is something that begins to feel dated and that we should be leaving in the past. As Bintley is still active, it might be something he'd like to re-think in this revival. *Somewhat off-topic, but IMO political cartoons - and hands up, I seldom find them funny anyway - are the worst offenders for this and it is most striking in their treatment of women politicians of all persuasions.
  11. Lizbie1
    (It is somewhat depressing that they can't spell Varii Capricii right.)
  12. Lizbie1
    The ROH website now has some details up: https://www.roh.org.uk/tickets-and-events/the-sarasota-ballet-2024-details
  13. Lizbie1
    I was wondering the same, and about Cranko too. There was a surprising amount of Roland Petit though!
  14. Lizbie1
    I remember playing his piano studies when I was a child - probably all he's really known for now.
  15. Lizbie1
    To be fair to Katie Mitchell, I've found her productions to be at least well thought through and coherent, unlike Kasper Holten's.
  16. Lizbie1
    I've only seen it once - with Oropesa, who was indeed sensational - and I thought it made sense as a concept. It might have helped that I could hardly see it (I was Lower Slips extreme side and as usual KM didn't concern herself with audience sightlines). Having said that the bathroom was giving me interior decoration ideas so I must have been able to see something! I believe some of the staging was toned down from the first run, when IIRC Damrau got mixed reviews (my view of her in general is that she's competent but it's not a beautiful noise, unlike Oropesa - so I'm not sure Lucia as good a fit as all that for her). I wouldn't read anything into Oropesa not returning as she's in great demand everywhere and aggressively building her repertoire so doesn't seem to be repeating roles much anywhere. If you're seeing Nadine Sierra it should be worth it for her alone, or so I'm led to believe. I don't know anything about Liv Redpath.
  17. Lizbie1
    I agree it's a nice idea - and I've taken advantage of it in Germany - but I it would cost a lot of money and change very few people's minds about how to get to performances in London. IME people who drive or are driven in central London - where there are strong disincentives to driving - do so because it is a necessity or their strong preference, and a tube ticket worth a few quid will make little difference; for the rest of the audience it would be a nice-to-have but not a decider. It might make more sense in other cities, as it does in Germany. There are many things public money can be spent on so there must be priorities. As for people who live "far away" - the German schemes I've seen only apply to the metropolitan area.
  18. Lizbie1
    But why must he keep returning to harlots/prostitutes/courtesans for these scenes? A casual observer might be forgiven for wondering if this was simply the first role to come into his mind when he considered women. Most reasonably educated people are well aware that the 18th century had its seamier side* and many here have seen the defences from the MacMillan camp before. That doesn't stop a significant minority of viewers finding such scenes gratuitous and, yes, crass. (And I'd add, not always that well choreographed.) *Edited to add that IMO far from being subversive such depictions verge on cliché.
  19. Lizbie1
    I've never been fussed about it until seeing this episode - what a difference the original cast makes! Others' mileage will vary IMO Ashton was right to retire it.
  20. Lizbie1
    I'd be surprised if that's it - as I commented above Peter Wright had a similar experience. 🤷‍♀️
  21. Lizbie1
    My impression is that it has sold better than the 2017 run, when I was able to buy up a balcony seat for Cojocaru on a Saturday night at short notice.
  22. Lizbie1
    Thank you so much for this - it helps tremendously with my planning: everything I need to know bar casting and whether I'll get tickets for the Linbury.
  23. Lizbie1
    It's interesting that Peter Wright had a similar tale.
  24. Lizbie1
    I doubt that we're talking about the same dancer but you've reminded me that I was meaning to be brave about this after I'd seen the production again. This all comes with the caveat that I only saw her once in Giselle and it was in this ENB 2017 run. I don't know how representative this is of her Giselle in general, or in this production or in the later part of her career, but I didn't love Cojocaru in the role. I should make clear that this had nothing to do with technique but was down to characterisation. One thing in particular sticks with me: while the peasant pas de deux was going on Cojocaru made a circuit of the onlookers, to show them her new necklace. I thought this wasn't just bad stage manners - quite distracting for the audience - but would have been bad manners in Giselle the character. For me it tipped Giselle over into the wrong kind of childish (over-indulged and perhaps simple-minded) and coloured the whole thing for me. I'm bringing it up on this thread because people have mentioned her above as an exemplary Giselle and I'd like to know if seeing her earlier would have shown me something else - those who've seen her throughout her career might have an interesting perspective. Also, I like to see minority opinions aired so I shouldn't just leave it to others to be brave. I should probably delete my account now!
  25. Lizbie1
    Since the last ACE funding announcement I've wondered if the point will one day be reached where fulfilling the latter is no longer worth the lost revenue from the former. ROH - though the headline figure is large, partly because in effect it covers three institutions - is in percentage terms less dependent on ACE funding than most of its peers. Perhaps the board should consider the impact of cutting the umbilical cord.
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