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Lizbie1

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Everything posted by Lizbie1

  1. Lizbie1
    This is beginning to feel a bit like voyeurism Time for me to stop paying him any notice, I think.
  2. Lizbie1
    If you click on one of the price ranges (e.g. £5-£17), it should show all the seats in that range in red, and the individual prices appear below (in this case £5, £10, £17). Click on, for example, £10, and only the £10 seats are red. At least that's what I see, whether signed in or not.
  3. Lizbie1
    No further details yet, but a page has appeared on the website, with pricing: https://www.roh.org.uk/productions/margot-fonteyn-a-celebration-by-various
  4. Lizbie1
    That's a fair point, but I'd consider it progress if people no longer put up with it, especially in a "team sport" like ballet.
  5. Lizbie1

    Raw eggs

    Lizbie1 replied to Melody's topic in Not Dance

    Sorry, late to this, but the advice is now that they're now considered safe for all: https://www.theguardian.com/lifeandstyle/2017/oct/11/egg-safety-weve-cracked-it-britons-told-by-food-watchdog. (Unless something has changed in the last year, of course.)
  6. Lizbie1
    I thought it had been deduced that only Principals had cast change notifications sent about them? I’m not objecting to any change in policy, mind!
  7. Lizbie1
    But what did you think of the choreography?
  8. Lizbie1
    It’s a long break between Les Pats and The Concert...
  9. Lizbie1
  10. Lizbie1
    I agree with both of you! I was talking to my dentist this morning about how as far as we were concerned it’s only the opera and ballet and some exhibitions that can draw us up to town. But then when you get people munching loudly (do people go to the theatre to eat?) or giving their companion a running commentary (as if they were on the sofa at home) or as with the ENB Swan Lake refusing to pipe down in the slightest during the orchestral prelude to Act II, it puts such a downer on things that you wonder why you bothered. And that’s from someone who, like Ruth, is practically addicted to live performance.
  11. Lizbie1
    For the avoidance of doubt: I don’t suggest radio as a substitute for watching a ballet, but it’s not a bad medium for discussing it. (And certainly better than nothing, which is the real choice.)
  12. Lizbie1
    But isn’t that the magic of radio, just as test cricket and football or tennis matches are somehow enhanced by only hearing them?
  13. Lizbie1
    Question anticipated by Irmgard
  14. Lizbie1
    Is it unfair of me to find this advert for a broadcast comms apprentice depressing? http://recruitment.roh.org.uk/vacancyView.php?requirementId=3346 The person they're looking for will, among other things: "Develop an interest in and keep in touch with best practice" Have "an interest in the arts and media" Be "passionate about pursuing a career in communications" Nowhere does it mention having an interest in opera or ballet as a desirable quality, or acquiring one being part of the job. It's far more important become interested in "best practice" (an essentially meaningless expression).
  15. Lizbie1
    Xandra, is there any ballet you admire which you wouldn’t like to see Yasmine Naghdi dance?
  16. Lizbie1
    Yesterday afternoon under the heading "Pas de douze, Polonaise" were listed six couples, but I'm pretty certain that the two had different dancers: different costumes, seven couples for the Polonaise not six, and (in this case) no distinctive blond head of Skyler Martin - who was listed - in the Polonaise. Was this a one off?
  17. Lizbie1
    There was one on the balcony entrance door at the Saturday matinee.
  18. Lizbie1
    Sorry, yes - meant cat's cradle.
  19. Lizbie1
    Off topic, but I've found the best coverage of Cardiff is on BBC Radio Wales, which is both informative for specialist and general audience alike, as well as being great fun. It beats the BBC R3 and TV coverage hands down IMO - for starters it's presented by singers with real operatic careers who know their onions, not the strange assortment of people no-one has heard of that BBC TV engages.
  20. Lizbie1
    I'm not great at spotting references, but this one was fairly extended, including a comic attempt at the lovers' knot (not specific to Ashton, I know). It may have been altered for a non-ROH audience.
  21. Lizbie1
    Oh and I'm very jealous of your getting to see Netrebko and Rachvelishvili together: Rachvelishvili is the most thrilling mezzo I've ever heard, I think, with a more exciting middle than most singers' tops. Also: completely agree about the MGM historical drama vibe.
  22. Lizbie1
    Thanks for the review! It does seem an odd choice for Netrebko: maybe it was planned when the unexpected direction her voice had taken had caused a couple of prominent cancellations, so she saw this as a safe option? Or is that too fanciful? I can only dimly remember this production now, but does the ballet reference Ashton's Fille fairly heavily or am I thinking of something else? Otherwise, I can mostly remember Gheorghiu phoning it in on that particular occasion, and the size of the stage-within-a-stage making the rest of the action appear fairly cramped at ROH. But I did like it!
  23. Lizbie1
    Thank you, Saodan!
  24. Lizbie1
    Really interesting interview - not surprised he's decided to cut down on the proportion of performances he conducts, it exhausted me just thinking about those long runs. Is it news that ENB will be touring the proscenium arch version of Wheeldon's Cinderella?
  25. Lizbie1
    True to recent form I can't find any timings for the 2 Pigeons / Asphodel Meadows mixed bill on the ROH website - can anyone help with the lengths of the component parts?
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