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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    Another thing! That “17.5% available to the public” figure is most certainly skewed by the dates which don’t feature either Netrebko or Kaufmann or both, and have been slower to sell.
  2. Lizbie1
    Thanks for alerting us - it’s rather an unsatisfactory statement, feels like it’s missing a conclusion. The unanswered question is of course, “Well, what are you going to do about it?”
  3. Lizbie1
    Snap, Thalia!
  4. Lizbie1
    Just saw this on Twitter: Not sure they’re “correcting” anything I’ve seen, just giving alternative figures.
  5. Lizbie1
    That’ll be because they’re channelling their marketing budget towards Facebook ads. Remember that “£1,000 of tickets sold for every £1” spent claim? Sadlers Wells/NB obviously need to get with the times.
  6. Lizbie1
    R&J and the Golden Hour mixed bill.
  7. Lizbie1
    Nor I, unless they pay a hefty fee for the privilege, especially as unsold tickets can be dumped back on the box office.
  8. Lizbie1
    I agree with much of what you say, but it’s possible these tickets came from the allocation made over to the “official” ticket agencies, whose role I have never understood.
  9. Lizbie1
    Crikey! Only 100 tickets/performance held back for general booking?!
  10. Lizbie1
    I thought about going but the prices seemed just too high - started at £35 for anywhere convenient for me (couldn't see any offers for the theatres in question).
  11. Lizbie1
    Pleased to see so many positive comments about the Poulenc. I was waiting for a bus after the matinee a few weeks ago with one of the cellists: I thanked him, we talked a little about the Two Pigeons and I mentioned the Messager. He said, "But what about the Poulenc!" If you'd asked "serious" musical taste-makers 60 years ago which then-living French composer's reputation would be faring best in 2019, I doubt many would have answered Poulenc: too "superficial", too tonal, too...well, attractive. But it looks like he might have the last laugh.
  12. Lizbie1
    Interesting! Can't think of another ballet set to Janacek - or am I overlooking something?
  13. Lizbie1
    I don't know about general booking, but when Friends booking opened there were very few Berenice tickets left only a couple of minutes in. I was lucky enough to nab one of the few remaining immediately after I'd got my Forza ticket. Apologies if you do all this anyway, but I find it helps to be very organised about which productions and dates you're targeting and prioritise them according to how quickly you think they'll go. I also have a tab open for each production page before the clock strikes nine: though these have to be refreshed once you've got to the front of the queue, it saves a few seconds. Another thing to bear in mind is that seats do reappear in the first 30 minutes or so, as people refine what's in their basket.
  14. Lizbie1
    Over my dead body
  15. Lizbie1
    I don't know, but a clever tout would surely see buying high-level membership as a wise investment if it were the case.
  16. Lizbie1
    There was certainly some availability for (vanilla) Friends booking as I bought one, though I was quick off the mark. For the truly desperate with deep pockets, the Spring edition of the Friends magazine offered special opening night tickets to include a post-performance dinner with the cast etc: "Tickets start at £1,400". Maybe some are still available, you never know!
  17. Lizbie1
    I begin to wonder whether there's been a change in personnel or procedure: it seemed so obvious to me that a limit would be imposed that I didn't even bother checking. Kaufmann's recent/current Fidelio in Munich had a two ticket limit: I'd like to see that at ROH for the most popular productions, as I think the four ticket limit they occasionally impose is over-generous and unfair when demand is so high. One thing though: Otello was definitely available in the packages, I remember it clearly (though I didn't buy one) as their unusual popularity that booking period had an effect on availability for the very short run of Mitridate.
  18. Lizbie1
    My late father, who had no interest in or knowledge of ballet, saw her on television once, perhaps twenty years ago I think as part of a variety performance or some such. He phoned me up specifically to tell me about her, and frequently mentioned her thereafter: she was the only ballet dancer who ever made any impression on him. I don't know why that was, but perhaps it was that she epitomised what a ballerina should be.
  19. Lizbie1
    I noticed the other day that the pricing was unavailable on the website: it’s back up now, consistent between productions and making better sense - at least as far as my limited sampling indicates - so I imagine they were making corrections. I can’t see that it’s really any cheaper, though, so don’t get your hopes up
  20. Lizbie1
    Were those fully staged? I’m a bit fussy in that I like my opera staged or not at all: I imagine others feel the same. (The same applies to the Prom you mentioned.)
  21. Lizbie1
    I think Friends etc get “displaced” from the seats they would normally buy and opt to go down a rung, which has a knock on effect on etc etc. I noticed a similar thing with Mitridate, re di Ponto a couple of seasons back when it had a limited run and was in the same subscription package as Otello (again with Kaufmann).
  22. Lizbie1
    I wasn’t surprised about either: Berenice because of the limited space in the Linbury combined with its rarity and Handel’s popularity; Billy Budd because it’s such a short run and (my pet theory) people buying subscriptions to secure Forza tickets will have been squeezed into those few dates. On the latter: I keep seeing the assumption made (including by Kasper Holten, presumably to justify his complete neglect of the composer) that Britten doesn’t sell well. Is there any real basis for this regarding the “major” operas or is it just lazy thinking?
  23. Lizbie1
    Completely agree, and it’s no excuse, but I wonder whether the Netrebko/Kaufmann La Forza del Destino has something to do with it.
  24. Lizbie1
    The thing I don't get is how they've ended up with so many versions of what should be the same information - if the website were decently designed it should be drawing casting information from the same place. That it evidently isn't indicates that a) they're still straddling the old and new systems in a very unmanaged way and b) there's some pretty poor work been done on the new one which has yet to be remedied. I think - despite what we might believe - they're trying to put it right but feel very sorry for whoever's having to sort this mess out: it's really not a simple task.
  25. Lizbie1
    Thank you for posting the programme!
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