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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    Oh, and IMO Le Parc is not worthy of its music, one of Mozart's very best movements.
  2. Lizbie1
    I can’t go into details (as I’ve mostly forgotten it already) but I didn’t enjoy this show at all, apart from the fairly promising “first movement” - I didn’t buy a programme so can’t tell you who choreographed the dances other than Le Parc. I didn’t like Bruce Levingston’s playing - thought the Scarlatti in particular was downright bad - and hated the Preljocaj, with the exception of the spinning around bit: it was just too overtly sexualised for my tastes, I guess. (These days I find that kind of thing downright creepy, especially from a male choreographer.) I appreciate that I’m probably in a minority and the critics seemed to like it, but I thought it a waste of two evidently wonderful dancers.
  3. Lizbie1
    No doubt I'm spoilt, but I find the ticket prices high as well, at least at my (bargain basement) end of the spectrum.
  4. Lizbie1
    The press release seems to suggest that Acosta won't be taking over until next June, so it seems unlikely he had a lot to do with the planning of the 2019/20 season.
  5. Lizbie1
    I'm confused: Swan Lake has "January to May" against it, but the listings only take it up to April 4th. If the former is wrong, it leaves a gaping hole in the season: should we expect a further announcement? I'm also disappointed about Bristol apparently being dropped, and can't understand the continued emphasis on modern ballets in the mixed bills. Will be good to see the SPW Swan Lake, though!
  6. Lizbie1
    Amphi and lower slips standing is £12 or £15: there’s some disagreement between the various seat maps.
  7. Lizbie1
    Exactly my thinking (though I’ve seen Spartacus a few times).
  8. Lizbie1
    That’s what my records say. On the other hand, standing tickets have definitely gone up, at least the SC and Balcony ones: what I paid £15 for is now £21 in both places.
  9. Lizbie1
    Pricing is now up (spoiler alert: not cheap): https://www.roh.org.uk/productions/spartacus-by-bolshoi-ballet https://www.roh.org.uk/productions/swan-lake-by-bolshoi-ballet https://www.roh.org.uk/productions/the-bright-stream-by-bolshoi-ballet https://www.roh.org.uk/productions/don-quixote-by-bolshoi-ballet
  10. Lizbie1
    It’s the pigeon which makes the tears spill over for me, every time.
  11. Lizbie1
    Surely one of the qualifications for being a critic is that you have to actually like the art form you’re covering? I don’t always get the impression that LW does, or at least not outside a certain sub-sector.
  12. Lizbie1
    I quite often did agree with LJ’s agenda, and I was pretty fed up with reading him going on about it by the end.
  13. Lizbie1
    I don't know. It would be a bit strange to publish an incomplete version to the website - it's not normally how it's done. Putting things up in a strange order seems to have become the new normal Still, I don't think it will kill us to wait for a week or two longer!
  14. Lizbie1
    My perception is that they've abandoned that idea, at least for now and for the seats I'm interested in. The opera does have differences from the ballet, though, which it never used to. There's no question that prices have gone up overall, though.
  15. Lizbie1
    I'm not going to attempt to unpick it, I'll wait for a clearer signal.
  16. Lizbie1
    I thought Stix-Brunell was terrific as the Young Girl this afternoon, beautifully danced and very funny. I’d love to see her as Lise.
  17. Lizbie1
    It’s clear as mud. With luck, things should become clearer when the casting pdf appears (assuming that hasn’t fallen victim to the latest comms strategy).
  18. Lizbie1
    There are three Insight events now on the website, on 4th, 5th and 6th June: https://www.roh.org.uk/insights/insights-fonteyn-and-me https://www.roh.org.uk/insights/insights-celebrating-fonteyn
  19. Lizbie1
    Meanwhile it’s well down the list of priorities on the reliably awful BBC News Entertainment & Arts page
  20. Lizbie1
    I think it's making a bigger assumption than bridiem's to expect people to sign in before looking at casting information, or to go through quite a circuitous route to it via the calendar. I very much hope that the correct information will be up in time for General booking; but I for one *always* make decisions ahead of booking opening about which dates to go for, either because I need to co-ordinate with friends or work commitments or whatever, or because it can be a bit of a scrum getting decent seats for certain performances. I wouldn't then normally expect to have to check it again at the appointed hour. As for the casting for the triple bill on the summary page not making sense: well, I agree, but for many semi-casual ballet goers they'll see the name "Osipova", for example, and go for that one without looking any further into it (particularly when none of the ballets is notably familiar).
  21. Lizbie1
    Exactly! And if you're a first-time booker (that precious commodity) it seems unlikely you'd have an account in the first place.
  22. Lizbie1
    But only if you know to click through. I don't unless I need to in order to get access to the Friends booking period, and I imagine it's the same for many non-Friends whenever they book. And if someone is planning things out before they're ready to book there's no obvious reason to sign in at that stage. The fact that Bluebird was caught out by this surely shows that there *is* a problem.
  23. Lizbie1
    It's precisely the "if you are signed in" bit that's the problem. Anyone who isn't signed in when they are trying to work out which performance to go to is being misled, and they'd have no reason to suspect that (unless they're keen followers of this forum).
  24. Lizbie1
    I wonder whether the increase in handling fee for returns has something to do with it - perhaps they should return it to £2 for tickets costing less than £20, for example.
  25. Lizbie1
    Perhaps drop a line to ROH about it - it should be obvious enough that nobody has to ask. I do think that they're genuinely interested in feedback (when I worked with web developers, end user comments were like gold dust).
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