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  1. Have just arrived at Sadler’s Wells. There are now signs at all levels saying “Please be aware that this performance contains very loud music” I don’t remember seeing these signs yesterday. Did anyone who was here last night see them? If not, this is presumably ENB’s way of responding to the complaints.
  2. I don't think they're advertised as being available. Some time ago I found the taped sound for a performance so uncomfortably loud that I left, intending to go home. I told an usher why I was leaving and she gave me some earplugs and suggested I go back in and see if they helped. I managed the rest of the performance by inserting the earplugs AND putting my hands over my ears! Since then, I've always known to ask for them. As far as I know, they keep a supply at all the programme stands.
  3. I had similar problems with the sound levels in the last revival of Khan’s Giselle. I’m pretty sure that the music was not amplified in its earlier runs. When it was revived in 2019, the sound was amplified to such an extent that I left the auditiorium with severe earache. I wrote to complain and the response (below) confirms the comments DaveM made above: "Our Head of Sound has advised that the show artistically has been created with moments of high orchestral drama, and therefore the volume is of a louder nature than a traditional classical score. A good portion of sounds produced in this show do not come from the orchestra but from a computer, therefore the computer sounds and orchestral music is balanced to all sound correct leaving the loudspeakers rather than what is heard acoustically from the orchestra pit. Please also be assured, the sound levels were measured and are in line with the guidance set out by the Health and Safety Executive. This is not a Sadler’s Wells production, and therefore the intentions behind the way the music is presented to the audience will stem directly from choreographer, composer, conductor and then fed to the sound designer." It's interesting that earplugs are always available, free of charge, from the programme desks at Sadler's Wells. They clearly expect many of their shows to have over-amplified sound.
  4. Discussion of Creature on Radio 4 Today programme at the moment. If listening later, it comes just after 8.40am. Edited to add that it was very short and appeared to have been recorded before the first performance last night.
  5. Just received from Scottish Ballet(available to watch from November 26 to December 5): ROLL OUT THE RED CARPET Inspired by Gene Kelly’s iconic work on screen, Starstruck will be released as a feature-length film in partnership with Marquee TV. In this immersive, theatrical experience, audiences around the world can escape with us to the glamour and grace of Paris, 1960. Combining live performance capture with cinematic filming techniques inspired by the golden age of Hollywood, Starstruck is directed for screen by Oscar Sansom (Dive). Gene Kelly’s pioneering choreography and much-loved style influenced a generation of directors and dance-makers in Hollywood, Broadway and beyond, and we honour his creative legacy with this playful new film. The film will premiere on 26 November 2021. Tickets £9.99 per household. BOOK NOW
  6. New dates have been announced for the postponed live streams: Anna Karenina | 8 March 2022 Watch in real time at 7.15pm AEDT Tuesday 8 March 2022, or enjoy within 48 hours. Harlequinade | 24 June 2022 Watch in real time at 7.15pm AEST Friday 24 June 2022, or enjoy within 48 hours. Romeo and Juliet | 18 October 2022 Watch in real time at 7.15pm AEDT Tuesday 18 October 2022, or enjoy within 48 hours.
  7. Plenty of them in the ROH shop. However, a word of warning: it’s VERY heavy!
  8. Many thanks, Jane, for drawing our attention to this - and heartfelt thanks to Bruce Marriott for all he did to develop ballet.co. I've just checked the WayBack Machine. Sadly there's nothing for 1996 but here's a link to the earliest page I could find (June/July 1997) http://web.archive.org/web/19970404124938/http://www.ballet.co.uk/
  9. The Ashton Foundation has sent out the following information to its mailing list: This season marks the tenth anniversary of the Foundation – it was launched in autumn 2011 – and so is somewhat different from previous seasons. Below are the main events: Monday 13 September 2021. The 2nd Frederick Ashton Lecture in our Frederick Ashton Lecture Series presented in association with the Wallace Collection at 7pm. Lord Berkeley of Knighton CBE, the well-known broadcaster and composer Michael Berkeley, will deliver the 2021 lecture under the title “SHOCK, JOY and AWE”. His talk will focus on the excitement and necessity of creating new work, and the current difficulties for the creative industries and for art in education. Owing to Covid restrictions, this will be an online event (free). Registration for the livestream to open shortly. For further information, refer to the Wallace Collection website: http://www.wallacecollection.org Wednesday 27 October 2021. Ashton Rediscovered Insight Performance in the Linbury Theatre, Royal Opera House at 7.30pm This programme will focus on the six decades of Ashton’s work as a choreographer and will include filmed and live extracts of some of the rarely-performed Ashton works which have been the subject of the Foundation’s Ashton Rediscovered masterclasses. It will also include the first performance for many years of Ashton’s Hamlet and Ophelia, created on Margot Fonteyn and Rudolf Nureyev as Hamlet Prelude in 1977, and the first public showing of a new 40-minute documentary film commissioned by the Foundation from film-maker Lynne Wake about Frederick Ashton and the work of the Frederick Ashton Foundation. General booking opens on 24 August. For further details, refer to the Royal Opera House website: http://www.roh.org.uk Sunday 20 February 2022. Ashton Rediscovered masterclass at the Royal Ballet Upper School at 2.30pm Les Rendezvous (1933) with Merle Park and Les Patineurs (1937) with Wayne Sleep A return of the popular Sunday afternoon masterclasses, followed by a drinks reception. Booking information will be circulated later in the year. Spring 2022. Ashton Insight in the Clore Studio (date to be announced) Frederick Ashton, the upcoming Ashton triple-bill and the Foundation will feature in this Royal Opera House Insight event. Tickets not yet available. For booking and further information, refer in due course to the Royal Opera House website: www.roh.org.uk 23 April – 2 May 2022. An all-Ashton programme at the Royal Opera House. Scènes de ballet, A Month in the Country and Rhapsody will form this programme. The Frederick Ashton Foundation is most grateful to the Royal Ballet for bringing this anniversary season to a close with this programme. Tickets not yet available. For booking and further information, refer in due course to the Royal Opera House website: http://www.roh.org.uk
  10. "Young ROH replaces our Student scheme. If you were part of our Student scheme and you are aged 16 to 25 you will automatically be given Young ROH membership." Edited to provide link for above quote: https://www.roh.org.uk/ticket-deals/young-roh
  11. I recorded it when it was televised and have just copied the castlist from the credits. Some of the spellings are different from the ones we're used to but I've copied them as they appeared on the screen: Nastya, Komsomol Official: Anastasia Yatsenko Yan: Andreï Merkuriev Denis: Denis Savin Ivachka, Homeless Boy: Morikhiro Iwata Kozelkov, Bureaucrat: Gennadi Yanin Swimmers/Typists: Ekaterina Kryssanova, Anna Rebetskaïa, Victoria Osipova Draughtsman: Egor Khromouchine Fitter: Viatcheslav Lopatin Chief Engineer: Andreï Melanin Factory Manager: Vladimir Moïsseïv Barman: Natalia Vyskoubenko Manka Fart: Natalia Osipova Fred – the Drunk: Alexander Voytiuk Ivan Corkscrew: Pavel Dmitritchenko Ficus: Galina Malaya Patchouli: Evguenia Volotchkova
  12. All Australian Ballet live streams have now been postponed and won’t take place until 2022. ”Due to the continuing uncertainty caused by the spread of COVID-19 and the necessity for ongoing lockdowns and theatre restrictions, The Australian Ballet has made the difficult decision to postpone our upcoming Melbourne seasons of Romeo and Juliet, Harlequinade, DanceX and Anna Karenina, along with all related Step Inside events and live streams, to 2022.”
  13. They haven't actually omitted the months. They've just put them in a potentially confusing place. All the entries in the Magazine are done in a similar way – i.e. the dates for each production are presented as a list of numbers followed by the month and the time. Eg The Dante Project is listed as 12, 15, 18, 20,21, 28 October at 7.30pm 16 October at 1pm and 7pm. 30 October at 11.30am. For Romeo and Juliet and Giselle, because the casting is listed after each date, the month appears after a lengthy list of dates and casts. This is made even more confusing by the fact that these productions span two or more months so that, for example, the Giselle listing for November 27 is simply followed by 1(Takada, Corrales) with the word 'December' not appearing till after the end of the listings for December. I agree that they haven't thought this through properly. More careful editing could have made the listings a lot clearer.
  14. I've been checking the seat maps regularly and each time I've found more seats greyed out. I'd assumed that Patrons had been doing their booking and that, possibly, some blocks of seats had been assigned to agencies as availability has gradually diminished in the Stalls and the Grand Tier. Also, some amphitheatre seats that originally showed as bookable are now greyed out as if they've been sold. Maybe this is all part of the 'updating'? Maybe these greyed out seats haven't been sold? It's all very strange!
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