art_enthusiast

Yep, I assume row H of the stalls is quite good? I'm restricted to returns only for a pretty sold out performance, otherwise I would have chosen the stalls circle!

OK, thanks - it is the aisle seat Would that be worth trying?

has anyone sat in row E of the orchestra stalls and what did you think of the view? (looking at returns for upcoming performances) Because I'm not tall so concerned someone's head might obscure the view. I know the first few rows are not raked

Agreed - I went several times to see Dante and I definitely recall Adès conducting on the Saturday the 16th matinée performance, it was very special to see him there. I'm not sure how many other times he conducted, I assume it must have been on the 14th October opening night as well. I noticed how the curtain calls were shortened a lot - every individual dancer got their own separate bow at the live performance, which I thought was very nice. Of course they must have edited it out due to timings.

Indeed! Sublime performance from the three leads - I really felt their chemistry during the pas de trois in the Act One dream sequence. Great to witness Hawes and Arrieta's emotional reactions to their promotion! I found the whole company dazzling, particularly Fernando Carratalá Coloma as Abdur, Natascha Mair as Sister Clemence and Julia Conway as Henriette. Adored the character and dynamic performances of Act 2, just superb. Every single act was uniquely fascinating.

I was there and this was a very sweet triumphant moment for them! After an absolutely stunning performance from both.

i agree that audience members probably shouldn't "bellow their approval of a concert performance before the final note has died away", in the words of this author. I also admit to finding it slightly annoying when clapping within performances happens, particularly ballet, as it tends to drown out the next few bars of the music. However once the music has fully ended, the audience is at perfect liberty to bellow their approval. Surely that would be preferable to a lack of appreciation. I disagree that standing ovations are over the top all the time. I think it is another mark of the huge amount of respect we have, as audience members, for those dancers, opera singers and indeed actors that have poured their heart and soul out to us throughout their performance. I was driven to a standing ovation after Thursday's matinée of "The Marriage of Figaro" - an experience and performance of a lifetime. I certainly don't regret my decision to stand and applause for those artists until my hands hurt: they deserved it. Even if it hadn't been the "performance of a lifetime" for me, the artists still deserved my respect in any way I felt appropriate to show it. Therefore, I cannot agree with the author's assertion - "stand up for nothing less than the performance of a lifetime (or a train that leaves in the next ten minutes)". Indeed, I find it quite rude when audience members leave before the applause and curtain calls have finished - I had someone in my row do that in Marianela/Federico's Romeo and Juliet performance on the 10th; crushing my legs in the process. They didn't even say 'excuse me' which would have been polite; I found their behaviour quite disrespectful. Unless, of course, they did have an extremely pressing train to catch - but they didn't really seem to be in an extreme hurry. And if that was the case, maybe they should have chosen an end seat beforehand?

Do you think a DVD will be produced?

Thanks for your response to my question about the cloakrooms being open. I wanted to ask if there are also lockers available in them - to store laptops for example?

Thank you Also was wondering (as I haven't been to the Coliseum in a while) - do they ask for identification, to match your name to the one on your ticket? Because my sister and I have tickets for different dates (20th and 18th respectively), but we're looking to swap due to scheduling issues. Hopefully that wouldn't be an issue?

Just a general question, does anyone know what the exact Covid-related requirements are at the London Coliseum? Do you need to present a negative lateral flow test as well as a Covid passport, or is it either/or?

Definitely agree - that's exactly what I thought, particularly in the final scene.

I would love to see Joseph Sissens doing Mercutio - very grateful that I got to see Marcelino on Monday of course but Joseph Sissens is definitely one of my favourite dancers (his performance in the Dante Project made a huge impression on me) and I'd love to see him in this role again at some point! Or as Romeo eventually... Learning it in 24 hours must have been outstandingly difficult. Extreme respect to him, and of course the entire company, for successfully rallying to last minute changes.

That's definitely who I think of as the lead Friend - I really love that part where they dance with Romeo. Not sure about yesterday, but I believe on Monday it was Isabella Gasparini.

Just an update - I attended the Marriage of Figaro and am speechless at the beauty of the music (couldn't expect anything less from Mozart, of course) and the extremely miraculous talent of the cast. It was an amazing experience.

Just an update - I attended the Marriage of Figaro and it was amazing, an absolutely stunning performance - very hilarious at times! Particularly enjoyed Riccardo Fassi, Federica Lombardi, Germán E. Alcántara and Hanna Hipp. But the whole cast was incredible.

Indeed - as I think earlier, Edward Watson and Lesley Collier did most of the coaching?

Indeed - she was stunning, a totally mesmerising performance. I particularly enjoyed the first meet/ballroom sequence, the dance with Paris, it all seems extremely effortless and the role of Juliet very natural for her. Similarly, with the balcony scene - no words to describe that. A sublime performance. I definitely felt the chemistry between them both throughout. I believe Marianela was coached by Alessandra Ferri, and this was definitely evident in this performance. The crypt scene had me in tears, specifically her reaction to Romeo's death - incredibly moving. This is my first time seeing her in the role, after also seeing Sarah Lamb in October. I understand that both of these principals are around/nearly at the 40 year age range. I think they consistently prove that age is not always a drawback in a dancing career, despite how short-lived these careers tend to be. Indeed, both appear to be dancing better than ever. Marcelino - stunning and engaging portrayal. Amazing acting, he really embodies the role magnificently. I saw him in the "Beyond Words" film but haven't yet seen him do Mercutio live, so I was overjoyed to see him yesterday. I was also very impressed by Téo Dubreuil as Benvelio.

Just a quick general query - are the cloakrooms in the Royal Opera House open and do they charge for usage?

Where are you viewing the cast lists?

Indeed - I know that if a performance gets cancelled, tickets are refunded/become ticket credit. I was just wondering if it's worth booking for the 13th matinée, if it might be cancelled. I can see that they've sold well in evening performances, it's only the matinée that hasn't.

Indeed - though I'm not sure whether that was because of unsold seats, or the fact that a cast/crew member had covid.

Wow! I'm surprised no one else noticed them. Are dancers often seen in the shop? Amazing recount of the final performance

I'm sure the intention behind them counts as well! Incidentally, at the Nutcracker on the 5th, I think Romany got two/three bouquets and Mayara got one? Not really sure but I think they both deserved two/three each!

Slightly unrelated (but not sure if there is a thread for this yet) - does anyone think the Marriage of Figaro performance next week on the 13th Jan, at 11.30am, might be cancelled? Because I wanted to book for it, but I see there are many empty seats so not sure if it's going ahead?