loveclassics

Thank you so much for posting this. I went on the site and was able to get a good seat. There were quite a lot of tickets available - possibly released by ticket agencies or were they held back for some reason? Linda

His flamenco version of Carmen was my favourite. It seemed more contemporary as it featured the difficult relationship of the choreographer and his leading dancer. I suppose the new film won't be released until the end of next year - but I'll keep an eye out for it. Linda

Well tap dancing has been 'performed' on the radio by Fred Astaire, no less. Linda

Thanks for the info Bridiem and for your kind wishes. Much appreciated. Linda

Sorry, late night posting often leads to typos - obviously I meant Ashton and this has been confirmed in another article in today's edition. It would also appear that late night posting leads to unnecessarily snide comments: or to quote the Big Bang Theory "nobody likes a smarty pants" You could have been a bit gentler in your rebuke, Alison. Linda

In the Times today there's a report of Lauren Cuthbertson being called to dance the title role in Sylvia at St Petersburg. Her partner was Xander Parrish and judging by the photograph, it was the Ashcroft version. Linda

I've been out of the loop for ages, stuck down here in Sussex trying to sell my mother's house, so when someone offered me a ticket I snapped it up without checking. When is Symphony in C on next and what other pieces are on the same bill? I know all the information is probably online but the new ROH website gives me a headache trying to find the right page and right now I don't need the extra aggro - I'm getting enough from the buyer's solicitors! (Sorry Lee, nothing personal) Linda

Thanks very much for the info. Since the first 2 pieces include everything I really dislike in ballet (dialogue, lighting that shines in the eyes of the audience, projected images, minimalist sets and dancers writhing in their underwear) I don"t have to be there until 9.00. Seems a bit of a waste of an evening but I see no point in watching something depressing when I was hoping a night out would cheer me up. Thank goodness for Symphony in C! Linda

Can anyone let me know the timings of this mixed bill? Thanks

I don't get this. I was just poking a little light-hearted fun at the way old fairy tales are being taken so seriously these days. I am not in favour of the way parts of our cultural history are now being re-interpreted in the light of modern thinking. It's a bit like the angry suffragette who took a knife to the Rokeby Venus. I understand her motive but in the long run do such protests achieve anything? Linda

I wonder if that 'someone' is familiar with the orginal story? It's one of the Tales of Mother Goose (Charles Perrault) and in some versions the Prince goes a great deal further than a mere kiss. Definitely non-PC and should carry an over 18 rating. In all this discussion I'm surprised no one has mentioned the cultural appropriation shown in most pantomimes. Aladdin and Ali Baba for example. Nobody seems to worry about them. Or is that because ballet is 'art' and panto mere entertainment? Can't we just relax and enjoy the dancing without worrying about the plot? Personally I don't care for Bayadere or Pharaoh's daughter but that's because I find the music rather tedious (with the exception of the Shades, of course). I'll be interested to read the critics when one of the Russian companies brings these either of these ballets to London. Will they comment on the same issues that have been raised on this thread? Linda

Well that's something to look forward to I suppose. I remember going to the Proms in the Albert Hall and sitting on the floor either in the arena or up at the top at the promenade level. Great acoustics but I'm not sure my arthritic old bones could handle it now. It's fine going down but not so good getting up again! Linda

This expensive PR outfit need to learn about the history of the ROH. I'm not that familiar with the opera special events but I do remember the Paul Hamlyn matinees and the Big Top seasons that the RB held on Clapham Common (or was it Battersea Park?) And weren't there Prom seasons in the past when all the seats in the lower auditorium were one flat (cheap) price? I also remember watching the TV documentary series that followed Jeremy Isaacs when he was running the ROH. In one particularly revealing episode, he and another board member sat in seats in the ampitheatre and discussed whether they were charging enough for the restricted view from those seats. It didn't seem to occur to them to consult the usual purchasers of those seats - they just took it for granted that their idea of cheap was the same as for ordinary people who don't enjoy 6-figure salaries. Now that's my idea of elitism, that organisations subsidised, even partially, by the tax-payer should be run by people so out of touch with reality. Linda

Frankly if he hopes to improve the ROH's coffers by selling food & drink, he's going to have to up his game. Covent Garden is overrun with coffee bars and restaurants far more attractive to spend time in and much better value for money. Selling out the Ring cycle so quickly is more likely to be due to the rarity of the staging, the small number of performances and size of the auditorium. He should follow the example of the RSC and some of the so-called fringe theatres that transfer hit shows to larger theatres for a season. Or simply schedule more performances in the first place. Once casual visitors to the ROH find out all the best seats and best shows are sold-out months in advance, there will be little incentive to return. Linda

I stupidly left it too late and now all the good tickets for this are gone. If anyone has an unwanted ticket for a seat in the Stalls, Stalls Circle or Grand Tier for any of the dates, please let me know. Thanks, Linda

I bought a discounted copy of "Darcey Bussell Evolved" from Amazon at rather less than half cost. But it turns out to be no bargain. It's new and the only difference I can see from the full priced version is that the 'luxurious' slipcase is not included. But I was rather surprised by the lack of performance photographs. Over 50% of the material is connected with fashion, advertising, and other ventures such as Strictly and Viva La Diva (of which the less said the better, IMHO). The chapter on the Olympics closing ceremony was interesting but it's not something I would want to read again. The Annie Leibovitz photos are for Gap and totally forgettable as is the minimal text. Altogether a dull book except for fans of celebrity photographers. I can see it joining my list of unwanted ballet books to give away - anyone want it (no charge except for the postage)? Linda

Surely if the shoes are sold simply as souvenirs, there can't be any comeback if used for any purpose? They're not being sold to be worn for dancing so there is no liability if used as such. And I know dancers lead busy lives but how long does it take to sign a name on them? It could be a useful source of income for a cash-strapped art. I'm surprised that, with so much emphasis on recycling these days, female dancers' shoes are made for one-time use only and then discarded. Mens' shoes, in contrast, are continually re-painted and reused in many productions. Can't pointe shoes be recycled at all or made from recycled fabrics? I've heard that Gaynor Minden shoes are state of the art - do they use materials that can be recycled? Linda

Talking of minor characters, I don't understand why the Emperor's mother, the Archduchess Sophie is included in the ballet. She had been dead for nearly a decade when Rudolf married Stephanie but there she is in both the wedding and the Emperor's birthday scenes. I assumed that Macmillan included her for some good dramatic reason yet she seems to take little part in the action. Any ideas? Linda

I think the ROH is being more vigilant now - my ticket was checked tonight and the ushers were carefully checking at the end of the intervals too. Linda

I tried this link and received an error message. I've advised the ROH web team and will post their response (assuming I get one). Linda

My ticket wasn't checked until I reached the Stalls Circle (after a last-minute panic because my ticket didn't say left or right and I couldn't remember which side my seat was on). Then I was directed to the wrong row but it was too late to change so I sat in the same same number seat but in Row B. Row C seemed to be full for the second act and stayed that way. Dutifully I tried to find the seat I'd paid for (C36) but at the end of the last interval the usher, obviously thinking 'poor old thing's lost again' firmly directed me back to row B. So, I had a perfect unrestricted view for the whole ballet. On arrival I just strolled in by the traditional exit, up the old staircase to the Floral Hall and up the down escalator to the Amphi terrace bar. I understand why tickets are checked on entrance to the auditorium but no bag check is a bit worrying. Or does the new 'open' policy make the ROH seem less prestigious and so diminish its value as a target? Incidentally if they persist in only checking tickets at the auditorium doors, the intervals should be extended to their original length because it takes much longer now to get everyone into their seats. Linda

Last night I went to the ROH for the first time since early 2017. I missed the display cases in the old entrance but noticed there was a smallish box office there on the side nearest the Floral Hall. Sadly there are a lot of new staff who don't know what/where the Floral Hall is. Neither do they seem to know the difference between the new door numbers or how to get from one side of the stalls circle to the other. What was wrong with stating which side of the auditorium your seat was? I was perfectly happy with a simple 'left' or 'right' but door 1A or 1B had me completely flummoxed. And the new coffee bar is awful - I felt I was at Stansted Airport but without the revolutionary design. Still, I suppose the newbies won't care - assuming that is that any of them will make a return visit. I hope the coffee is better than it was, I wasn't prepared to risk it. It's really astonishing that the PTB don't see the contrast between the truly astounding quality of the performances and the dreary nondescript surroundings they take place in. I had a magical evening once inside the auditorium but as for the venue? 'Meh' is about all there is to be said. Such wonderful dancers* should have a theatre more worthy of them. Linda * and singers and musicians.

He didn't need manipulating, the real prince was a great supporter of Hungarian independence and wrote anonymous articles on the subject for the liberal press. He was also a great admirer of Gyula Andrassy who was Hungarian but served a period as Foreign Minister of the Austro-Hungarian empire and naturally felt that his country should enjoy more autonomy. I'm sure I've said this before but Macmillan was very 'economical with the truth' when he created Mayerling. He omitted a lot, not least that Rudolf was sincerely in love with his bride when they first met and wrote her tender love letters which can still be seen in the State Archives in Vienna. He also wrote many political pamphlets, studied ornithology to the extent his writings were consulted by professionals and wanted desperately to go to University to study zoology. All the stuff about his drug use and carousing with whores was largely concocted by the tabloids that were controlled by the secret police. There's a mysterious shortage of reliable contemporary sources and given the amount of political writing he produced it's hard to imagine him having time for a social life. My personal feeling is that he killed himself in despair at the way his country was being run. He was a liberal living in a backward tyranny and could only see future disaster ahead (the Austrians had recently suffered two enormous defeats on the battlefield). I can recommend the book The Road to Mayerling by Richard Barkeley if you want a more factual account of the events leading to Rudolf's and Mary's deaths. But there's no denying that it's a highly entertaining ballet and Matthew Ball was in fine form tonight. Linda

I've decided to downsize my library of ballet books so to start with I have autobiographies of Suzanne Farrell, Zorina and Danilova for anyone who would like them. I also have a biography of the Empress Elizabeth entitled 'The Reluctant Empress' and will be at performances of Mayerling tonight and Thursday evening to hand over all or any of these books. More to follow as I slowly empty my shelves. Linda

Tomorrow's Times has an interesting article about this. It's behind the firewall so I can't reproduce it here but one sentence caught my eye: "There’s also a very unhealthy pressure for all organisations — even the big ballet companies — to reinvent themselves all the time and roll over backwards to do something new.” If only the new productions were a patch on the classics. Linda