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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    It’s the “Heritage” (awful word) mixed bill I’m most interested in, and it’s the one we have least information about so far - has anyone heard anything more about it?
  2. Lizbie1
    No - I’d be avoiding him anyway, but there are others in the cast I’m not mad about either. It would be great to see Garanca, though.
  3. Lizbie1
    Just spotted a nice touch in the programming, intentional or not: Onegin will be performed on 29th February, the day when women are traditionally “allowed” to make the running.
  4. Lizbie1
    I love Bychkov too, but that casting is not good and the production no better. As for Agrippina: I know I’m virtually alone in this but I don’t like Joyce DiDonato so will wait for the revival! Re Don Carlo: I don’t know whether to laugh or cry about Domingo’s presence.
  5. Lizbie1
    I thought that at first, but it runs from Thursday to Tuesday. I’d also like to know whether there are any matinees.
  6. Lizbie1
    Why so vague? I would really like some detail about this, starting with actual dates rather than a range. (It doesn’t appear on the calendar.)
  7. Lizbie1
    Is anything his fault, in your opinion?
  8. Lizbie1
    BTW that link came via their own Twitter feed a few minutes ago...
  9. Lizbie1
    Well it has now! https://www.roh.org.uk/news/royal-opera-house-2019-20-season-announced
  10. Lizbie1
    Reactions and thoughts? My must-sees at first glance are Death in Venice, Fidelio (at last, Kaufmann in German at the ROH - and with Davidsen!), Jenufa (for Mattila), and Elektra (Stemme AND Mattila, what a treat) and Netrebko in Tosca with Terfel’s Scarpia. I’m more ambivalent about Don Carlo for casting reasons; and I’m actively cross about the continuing neglect meted out to La Traviata by the casting department. Also: unless I’ve missed something there’s no Calleja or Oropesa again ;(
  11. Lizbie1
    I think my main reaction is shock at the near absence of Ashton.
  12. Lizbie1
    That’s a very generous interpretation
  13. Lizbie1
    I can’t see anything on the main stage after 19th July plus WNO will be doing a few dates after that I think.* *Bluebeard’s Castle with Sir Bryn himself!
  14. Lizbie1
    Apparently the press embargo will be lifted at 11am - meanwhile it’s all there on their own website.
  15. Lizbie1
    Stevie, I agree in some respects with what you are saying, but on this subject there are two things that bother me about the ROH’s current course: firstly that, apart from the already existing live screenings, no consideration has seemingly been made to those of us who travel from beyond London and the Home Counties (indeed, matinees, which used to be discounted, are no longer so); and secondly that surely it’s possible to address potential new audiences without alienating the existing one.
  16. Lizbie1
    I see that the Chaillot programme features the Royal Ballet performing Merce Cunningham's Cross Currents - presumably we'll see it in London as well.
  17. Lizbie1
    It’s been announced for Glyndebourne 2020, directed by Barrie Kosky: https://www.glyndebourne.com/festival/glyndebournes-2020-programme-announced/
  18. Lizbie1
    Oh! A stray thought I had watching Flight Pattern was that I’d like to see Crystal Pite choreograph or even one day direct an opera - she’d use the chorus beautifully.
  19. Lizbie1
    I think the back turned/not looking in the eyes thing would matter a lot less if the commenters felt the choreography and story telling were stronger. That’s my position, anyway.
  20. Lizbie1
    I find the “real people” line offensive as well as ludicrous. Are they saying that there is a kind of audience member who doesn’t make the cut in that respect?
  21. Lizbie1
    Very briefly: Golden Hour - loved the new costumes but, the men’s duet apart - with Nicol Edmonds looking very good - I was less impressed with the ballet than last time around. I think maybe that I’m just never going to be a Wheeldon fan. Medusa: I really liked the only Cherkouai I’d previously seen (the Nutcracker pdd) so approached this with an open mind but thought it was a bit of a dud - low key and boring considering the dramatic potential of the story. It didn’t help that the Medusa headdress was IMO more comic than scary. The women’s costumes were lovely but I hated the diaphanous jumpsuits the men were saddled with. Great singing from Ailish Tynan and Tim Mead though! Flight Pattern: after being disappointed by the first two pieces I was definitely in the wrong frame of mind for this, so had to settle for admiring it rather than being moved by it. I was most impressed with the handling of the corps - interesting, unusual and highly musical.
  22. Lizbie1
    I’m not sure it’s fair to ENB to see them as some kind of training company for the RB.
  23. Lizbie1
    It’s possible that it’s BRB reviving it, I suppose. And “next year” could of course mean 20/21.
  24. Lizbie1
    Some sketches and information about the new Golden Hour costumes: https://www.tatler.com/article/jasper-conran-designs-golden-costumes-for-royal-ballet
  25. Lizbie1
    From an interview with Jasper Conran in Tatler about his Golden Hour costumes (https://www.tatler.com/article/jasper-conran-designs-golden-costumes-for-royal-ballet) ”It’s Conran’s first time working with Christopher Wheeldon – after this production, the life cycle of the costumes will hopefully go on. After all, Conran reveals, ‘there’s a piece that I did for the royal ballet 25 years ago that is returning next year.’ Let's hope that the same applies for these.” Could that be Tombeaux? Does anything else fit?
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