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Lizbie1

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  1. Lizbie1
    I thought Naghdi took a while to find her way too, but reckoned she got it about half way into the first scene, about when the gypsies turned up and the “niceness” finally gave way.
  2. Lizbie1
    Gorgeous Two Pigeons tonight: a convincingly annoying then despondent Naghdi and a convincing furious then remorseful Campbell really made the story work. Beautifully danced and perfectly partnered: I might have to dip into my emergency ballet fund and go once more. I don’t think I can get enough of this ballet!
  3. Lizbie1
    EXACTLY, Blossom. I’ve never been in Marketing but have worked in Digital Development, and a lot of the sales pitch is about being able to track results (and thereby impress your bosses). Interestingly, though, a lot of the latest research shows that targeted advertising doesn’t work as well as people hoped, and general brand awareness is what really makes the difference.
  4. Lizbie1
    At least with posters there’s a lead time involved - no such excuse with digital ads.
  5. Lizbie1
    Good to know - but why haven’t Tosca and Billy Budd been taken out of rotation already?
  6. Lizbie1
    This is not a scientific study, but when reading the New Yorker article about New York City Ballet posted in today’s links, I was struck that the three adverts scattered through the piece were all from ROH but none for the ballet. The three operas were Katya Kabanova (on now, selling slowly - fair enough that they’re pushing it), Billy Budd (on in April/May and as good as sold out already) and Tosca (on in May/June and only two dates left with 100+ tickets remaining). Why are Tosca and Billy Budd being pushed in an article *about ballet* when RBS/Two Pigeons isn’t? (I can see a tenuous argument that Tosca can be a way to lure people to the website, but that doesn’t explain Billy Budd. And if it’s a question of RB marketing funds not having been allocated, why isn’t Andrea Chenier, which needs the help, being prioritised?)
  7. Lizbie1
    I don't know for sure, but the most obvious explanation is that it's a continuation of the random trial discussed in the thread I linked to above.
  8. Lizbie1
    Sleeping Beauty last year was similarly priced.
  9. Lizbie1
    Isn’t this the reason?
  10. Lizbie1
    ...and those of us with desk jobs would very likely be booking from our work PCs, given that booking opens at 9am. I really struggle to see what purpose the new homepage serves: it's just an obstacle in my view. Even if you think to scroll down it (and there's nothing to entice you to do so) the content is more concerned with popping in for a coffee than seeing a performance or learning about ballet and opera.
  11. Lizbie1
    A lot of (not all) web design now seems to start from the assumption that people are viewing websites on a tablet and really, really like scrolling. While I imagine that there is sound research behind the first - though I think they underestimate how much viewing is done by people at work on their desktops - any figures to back up the second are IMO because people are given no choice in the matter: designers create websites which require endless scrolling, so people scroll more than they used to, then researchers see people scrolling more, so designers respond to this research by... it's a circular process. So please give feedback - it's the best way of breaking through the designers' bubble.
  12. Lizbie1
    I don’t get that view - it may be that you’ve been randomly chosen to try out a new version. If you scroll right down to the foot of the page are you able to see a link for 2018/19 then Summer Season? If they’ve taken that away that will be a pain!
  13. Lizbie1
    Great review! I love Camarena - agree he’s not flawless but the top is extraordinary, and with squillo to burn. You always get the feeling, too, that he just loves singing and had he not been blessed with the voice he has would be happy to sing for nothing in village halls.
  14. Lizbie1
    They've now issued casting in pdf format: https://s3-eu-west-1.amazonaws.com/static.roh.org.uk/for/pdfs/The-Royal-Ballet-Casting-Summer-Season.pdf
  15. Lizbie1
    I saw this pairing the other week at Munich: do we know whether this was because there was no possibility to prepare a Munich pairing or at the insistence of Neumeier?
  16. Lizbie1
    I noticed this, in Lyndsey Winship's Guardian review, talking about the Alerts Collins piece: "...and – unusual this – the dancers look like they’re having a really nice time." Is she trying to imply that RB dancers don't generally enjoy performing?
  17. Lizbie1
    Serious diversion I know but since this is a moany thread about RO booking, I note that with less than a fortnight to go until summer booking opens for top level Friends we still don’t know who’s doing Krakenthorp in la Fille du Regiment, which seems odd.
  18. Lizbie1
    She's a "girl" but he's a "man", though he shows no more maturity than her.
  19. Lizbie1
    ...and I’d like to think we’d moved on since that was the norm, nearly 60 years ago.
  20. Lizbie1
    This absolutely isn’t intended as criticism of present company, but if I were a dancer sensitive to this kind of thing I’d probably give more leeway to a long-standing female colleague than to a man I didn’t know well.
  21. Lizbie1
    Mixed news: William Bracewell to be replaced by Alexander Campbell in Two Pigeons on 12th February and by James Hay on 16th February.
  22. Lizbie1
    TBH as with a lot of Verdi I've never really bothered with the "plot"!
  23. Lizbie1
    My guess is that it’s to do with ACE targets.
  24. Lizbie1
    I wonder if they’ve had a rummage down the back of the sofa for tickets being held back for critics, VIPs, friends of the cast etc. And of course the £1,400+ crew!
  25. Lizbie1
    The question I’d really like to see answered is whether there was indeed no cap on the number of tickets an individual (patron, friend or otherwise) could buy. If it is true, that’s a pretty shocking oversight and I think we’d be due an explanation.
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