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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    Over my dead body
  2. 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.
  3. 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!
  4. 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.
  5. 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.
  6. 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
  7. 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.)
  8. 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).
  9. 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?
  10. 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.
  11. 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.
  12. Lizbie1
    Thank you for posting the programme!
  13. Lizbie1
    Oh, and IMO Le Parc is not worthy of its music, one of Mozart's very best movements.
  14. 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.
  15. 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.
  16. 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.
  17. 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!
  18. Lizbie1
    Amphi and lower slips standing is £12 or £15: there’s some disagreement between the various seat maps.
  19. Lizbie1
    Exactly my thinking (though I’ve seen Spartacus a few times).
  20. 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.
  21. 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
  22. Lizbie1
    It’s the pigeon which makes the tears spill over for me, every time.
  23. 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.
  24. 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.
  25. 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!
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