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Lizbie1

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  1. Lizbie1
    Tanztheater Wuppertal Pina Bausch’s 2019/20 season announced - thanks to today links! http://www.seeingdance.com/tanztheater-wuppertal-2019-20-28052019/ They’ll be bringing Bluebeard to Sadler’s Wells 12-15 February.
  2. Lizbie1
    The more I look at that odd bunch of Concerto performances - after a gap of over a month - the more I’m inclined to stick with my theory that Cinderella was ditched at a late stage of planning.
  3. Lizbie1
    There's a *lot* to be said about this particular string quartet, but the reason it sounded so familiar if you didn't already know it is probably because it features the DSCH motif so heavily: https://en.m.wikipedia.org/wiki/DSCH_motif
  4. Lizbie1
    I don’t think Kevin O’Hare is above reproach, but do we know whether this is his fault? I could be wrong but I don’t remember cast changes being so sloppily announced or so late prior to the last year or so.
  5. Lizbie1
    I had Fumi Kaneko as Rosaline. Edited to say: sorry, just realised you meant multiple roles only! Maybe she’s taken another part too though?
  6. Lizbie1
    And - after her wonderful Young Girl in Two Pigeons - Lise, whenever Fille shows up again.
  7. Lizbie1
    Looking again - I think it’s even worse this time: the seats immediately above the mid-Amphi entrances that remained in the lower band for Swan Lake have now been swept up as well.
  8. Lizbie1
    Oh no! I’d hoped we’d seen the back of that price band arrangement
  9. Lizbie1
    Well...even if it is for the benefit of the dancers, the thinking seems to have spread to the opera company too: with the exception of Alice’s Adventures Under Ground (which is I think very short), their Saturday matinees all start at 12pm as well, with no obvious reason.
  10. Lizbie1
    Pricing now seems to be fully visible for the Autumn season.
  11. Lizbie1
    You see - I’m more interested in Onegin’s inner idealism.
  12. Lizbie1
    More than that - who gets to decide what is acceptable? Unless and until Polunin has been judged to have acted unlawfully, and as no public money is involved, I don’t think anyone has the right to stop others seeing him - as opposed to convincing them not to.
  13. Lizbie1
    Thinking about it - it’s the attempt to withdraw the choice from others that annoys me.
  14. Lizbie1
    God knows I’m not a natural defender of Polunin, but this kind of thing actually makes me uneasy. It’s one thing for people to lobby against public money being spent on people whose actions we disapprove of but have yet to be demonstrated to be illegal (I’m thinking of the Paris Opera Ballet cancellation here), but I don’t enjoy the spectacle of pitchfork mobs threatening to shame companies into boycotting other companies or enterprises, as I assume from the timing has happened here. What’s more, it’s pretty shameless of London Theatre Direct to be attempting to take the moral high ground at this late juncture. Instead, my favoured course of action is simply to vote with my feet and withdraw my own custom from the true culprit. Given enough numbers it works!
  15. Lizbie1
    I think there’s an upper limit of nine per performance for bookings from individuals. Probably a question for the box office!
  16. Lizbie1
    Sorry I probably wasn’t very clear - I meant that an Osipova fan might not naturally be expected to be a Hallberg admirer. Like pairing Tebaldi with Peter Pears perhaps!
  17. Lizbie1
    I think it’s because they’re both “marmite” dancers, and I’m not sure whether each holds great obvious appeal to the other’s admirers.
  18. Lizbie1
    Returning to this...I’ve now gone through the monthly calendar view for February to the end of the season. In that time, out of 25 available Saturdays there are: 2 x main stage opera matinees 3 x main stage ballet matinees (including the Swan Lake Welcome performance, not available to regulars) 1 x RBS Summer Performance Additionally, on the 3 Bank Holiday Mondays (Good Friday being traditionally off limits) there is one “early evening” La Traviata and one Swan Lake matinee. There may of course also be a few Friends Rehearsals on Saturday mornings/afternoons which have yet to be announced, but it is surprising that the Main Stage will be so little used for performances over a six month period.
  19. Lizbie1
    Does anyone know whether they were made available for the Bolshoi season? I think it’s been remarked previously that they (are able to) take a rather more relaxed attitude.
  20. Lizbie1
    Hurrah!
  21. Lizbie1
    I take it all back 😉
  22. Lizbie1
    “£45 or less” seems a rather carefully chosen benchmark. I understand why they feel the need to present figures in the most favourable light, but when you keep moving the goalposts you lay yourself open to accusations of a lack of transparency. It’s good that Alex Beard is tackling the subject head on, but he must know that the Friends are a very engaged group (with many having too much time on our hands!), and there are unanswered questions remaining about, for example, the lack of a cap on Forza tickets and disproportionate price increases in the cheaper seats.
  23. Lizbie1
    Has there been any more news about the January gala performances at the Coliseum? I can’t see it listed on the What’s On page of the website or on the Coliseum’s own site. While I’m here, the press release mentions that they’ll be announcing Summer 2020 performances this Spring, so I assume that’s imminent.
  24. Lizbie1
    But this brings us back to Douglas Allen’s point: why do we start from the assumption that all available principals will dance the lead at least twice in a run? Is it written in tablets of stone somewhere? My memory isn’t as good or as long as some others here but I don’t think it’s always been thus at the RB. (FWIW, though, I’m comfortable with the current number of principals.)
  25. Lizbie1
    And 2 of the 5 Coppelias and 1 of the 3 Concerto mixed bills (I haven’t checked the others). ...and not exactly helpful if you’re in full-time employment. I thought one of the ROH’s unspoken aims was to attract a younger audience?
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