San Perregrino

13 minutes ago, Scheherezade said:

Well yes. Although the frequency of the bum notes, particularly with the brass section, is such that the occasions when there aren’t any are the ones that stand out. 

interesting. I can't say that I've ever noticed it being a regular thing. perhaps the brain auto-corrects as it can do for spelling errors.

the only passage of music I have a repeat issue with is a section of the Sleeping Beauty overture which always sounds to me that as though a mangled cassette tape is being played backwards under water 🙂

9 minutes ago, MAB said:

I'm very much against the gig economy too, but I'd like to point out that in any other profession if you don't do your job properly you are sacked.  I'm surprised that doesn't seem to apply to musicians.

in live performance, isn't the occasional stray note acceptable in the same way as a ballet dancer touching the stage with his hand or slipping off her pointe? (both of which happened last week)

I'd far rather the odd bum note than a performance danced to recorded music.

1 hour ago, Blossom said:

I was hoping that when I see it live (for the first time) I might feel an emotional connection. The storytelling appears to be quite sharp, the acting excellent, but have found that the dancing is just dancing, there are no swells of emotion and no real emotional pull or feelings between the characters in the choreography. So I assume that the physicality of the steps is what makes the choreography truly emotive and that perhaps this is the missing piece of the jigsaw with Wheeldon. I hope I feel differently when I see it live, or that perhaps (as with Like Water for Chocolate where I much preferred the second cast) it’s down to casting. 

I’d suggest, for me, it is the music that under-delivers. While Talbot is perfectly pleasant, his music doesn’t soar or sweep nor lift or dive, it doesn’t move me to joy or tears nor get under my skin in the way Prokofiev, Tchaikovsky, Stravinsky or even Minkus do. I sincerely hope that in his next commission for ROH, Wheeldon looks to the classical canon to orchestrate his work.

45 minutes ago, OnePigeon said:

Friday Rush for those of us able to access our accounts at 1pm (not me, I’m at work earning my not very high wage)

I dont believe that Friday Rush tickets are priced any cheaper than regular tickets? 
Similarly standing tickets are cheap because they come without a seat (and generally but always with some kind of restricted view).

3 hours ago, Sim said:

, I was sat in Row A of the Stalls. 

3 hours ago, Lesley said:

I was also lucky enough to have a row A seat just to the left of the conductor.

I’ve always wondered if, sitting in row A, one  is able to see the dancers feet?

ticket re-homed.

due to changing travel plans I cannot attend this performance.

SCS D33 face value £14

please send me a DM and leave a message here if interested.

thanks

due to changing travel plans I cannot attend this performance.

SCS D9 face value £14

please send me a DM and leave a message here if interested.

thanks

2 hours ago, FionaM said:

Congratulations to Nicol Edmonds who replaces Ryo Hirano in the cast with Sarah Lamb as Hermione.  Now on the ROH cast lists.

 

https://www.instagram.com/p/C6grYXnohLP/?igsh=MTRwY2tlejFtNm44eg==

The changes were announced and made to the website last month. 
 

THE WINTER’S TALE

Tuesday 21 May 7.30pm; Tuesday 28 May 7.30pm; Saturday 1 June 7.30pm

Ryoichi Hirano is replaced by Nicol Edmonds as King Leontes

Anna Rose O’Sullivan is replaced by Sae Maeda as Perdita

Also Olivia Crowley replaces Claire Calvert as Paulina in the Kaneko/Mutagirov/Pantuso/Sissens cast.

17 minutes ago, art_enthusiast said:

190??? That is wild. Basically 200.

 

And 145 for dystopian Maddaddam? Is it really that good?

Although not directly comparable, the middle section of the front two rows of the Royal Circle at the Noel Coward Theatre went on sale today for the upcoming Jamie Lloyd production of Romeo & Juliet. £254

14 minutes ago, Bluebird said:

The lowest price is for amphi standing and the slips nearest the stage

I wonder if we’re looking at the same information, have posted a link to the table I was looking at above. 

21 minutes ago, Bluebird said:

Unless they’ve made another ‘misstep’ (or missed out one of the price bands) it looks as if SCS will be £22 for Alice and Cinderella.

Assuming SCS is the lowest price in the section, I read the table as being £14 for Alice & Cinderella, £12 for Maddaddam and £8 for Encounters. Whilst identical for ballets, Opera productions seem to have two price bands for SCS depending on if it’s Stalls Circle or Stalls Circle Side. 
 

https://content.app-us1.com/vz2oy/2024/05/03/65752ff0-0d57-4a8a-baea-8137db4caa09.pdf?id=31830593&utm_source=ActiveCampaign&utm_medium=email&utm_content=Friends ENews%3A New Season announced!&utm_campaign=240503_membership_enews_friends

Also:

28 minutes ago, alison said:

Thanks, both, but I can't do the 7th because of the rail strike.  Also, I can't do the upper slips.

It might help if you could narrow down the dates and seating areas that you’re looking for. Thanks 

cast list for tonight:

1 hour ago, tiltwithlips said:

Looks like the Nunez/Ball cast for the general today (Yasmine Naghdi has posted that she’s dancing it), which I’m delighted about as I’m attending!

https://static.roh.org.uk/digital/cast-sheets/The-Winters-Tale/The-Winters-Tale-General-Rehearsal-CS-03-05-24.pdf

9 hours ago, Poly said:

Hopefully there are seats available on this site!!! 🥺

don't forget that tickets will be available on the ROH website at 1pm today as a part of Friday Rush.

https://www.roh.org.uk/ticket-deals/friday-rush

Credit where credit is due.

in addition to Saturday and bank holiday matinees, the new season includes non-bank holiday weekday matinees for several ballets and Sunday performances for some.

1 hour ago, bangorballetboy said:

 

but on the other hand, there appear to be more rehearsals in the evening, which may appeal more to those who work full time

Notwithstanding your comment which I take on board, it does however seem a pretty silly decision to have rehearsals in the evenings thereby blocking off evenings on which actual performances could be scheduled and fill the still depleted coffers with much needed funds. (Alex Beard went to great pains yesterday when speaking to emphasise how precarious the finances are and will continue to be so as the government COVID loan comes due for repayment). 

1 hour ago, Lesley said:

I notice that there is no General Rehearsal for Alice or MADDADDAM so that is another perk of being a Friend which may be changing . Nothing much of interest next Autumn. Maybe I’ll try out Opera.

If the casting prior to booking is not announced I will have to rethink my Friend Membership.

Perhaps they have yet to be scheduled (fingers crossed 🤞🏻)

3 hours ago, zxDaveM said:

No doubt some consultancy firm got a nice fat fee

2 hours ago, art_enthusiast said:

A fat fee for a logo

is this fact or supposition?

in a talk this morning Alex Beard said that in a survey of 'stakeholders' in the ROH, i.e. civil servants, ACE, sponsors etc only 2 out of 5 were cognisant of the ROH being about more than opera. it beggars belief I know. however, this is a major motivator for the name change and rebranding with a view to raising the profiles of, amongst those who can influence or fund. all three entities; the Royal Ballet, the Royal Opera and the ROH Orchestra. 

9 hours ago, zxDaveM said:

 

I wouldn't say it was an equal partner - if you look at metrics such as ticket prices, number of productions (I've not counted up the individual performances, though I dare say the 25-30 performances of some ballets will even things up a good deal). I always get the impression (just a persoanl one, I have to add) that the powers that be in 'classical' music regard ballet as the poor cousin to opera

9 hours ago, FionaM said:

agree.   Which is why this change is significant.  It positions ballet as an equal partner in many minds … from casual visitors to arts council.
 

Maybe the building will become known as ‘The House of the Royal Ballet & Opera’.

 

Or RBOH.   

I suspect that ballet has been bringing in more money and/or audiences than opera in recent times and may continue to do so going forwards. Giving greater prominence to the importance of ballet in the partnership has to be a good thing.

10 hours ago, Geoff said:

Dancers I have spoken to are grateful for applause as it increases the time they have to recover. 

Bow 5 in this clip is a visual representation of this rationale:

https://www.instagram.com/reel/C50eKh8vgm1/?igsh=MW90OTk5N2FseXE3dA==

1 minute ago, RobR said:

Second, I think it’s not ideal to align a narrative ballet with a narrative theatre drama - the art forms are entirely different.
 

That’s what I said