Mary

I don't know and haven't received this offer,- in which I would definitely be interested.

I have only just noticed this message when I go to buy tickets -

Please sign in before choosing your seats in order to access prices available to you.

which has probably been there for years, overlooked by me,  but it strikes me as odd. Does it mean if I sign in as a Friend I might not be able to use a code sent only to non Friends - or something?

I understand some cheaper prices are available for some categories such as young Friends, but  is it used for other purposes I wonder?

Sorry if this has already been discussed!

14 hours ago, Dawnstar said:

I'm a little nervous in case I'm the only person there who has opted out of black tie, but I really can't walk from Kings Cross to the ROH and back in an evening frock & heels!

So Dawnstar, were you the only one?

I bet not...

Thanks for the great photos.

Wandered in off the street? So many people in the theatre who don't have tickets these days...and tickets are omly checked at the start..

Oh don't feel awkward - lots of people go solo. I rather enjoy it, it's fun to wander round the House and I often chat to the ushers and generally get in the way. Have a great evening! Wish I was there again.

I really enjoyed this pair in the General so very pleased to hear these good reports!

I feel sure there will be many more opportunities to see them in future.

I can add nothing to all these fine reviews other than to agree- yes, it was one of the best performances I have ever seen and a truly thrilling celebration of 50 years of ballet.

Vadim and Fumi danced like one person, with the perfect combination of technical excellence and expressive beauty. Can we wonder they are in demand internationally? We are so lucky to have them here and I hope they are given enough opportunities to do what they do best in classical ballets of the highest quality.

They were supported by a brilliant cast and orchestra, and the music was utterly soul-stirring so far as I am concerned - if that is a poor orchestra I would love to hear a good one.

Like Fonty I would be happy to say goodbye to the cygnets (and can it be much fun to dance given there is no room for expression and it's fiendishly hard work?) and there are a few other tweaks that need giving to this production in my view.

I had a thought as I wandered around in a dream today that when Vadim does finally stop dancing (may it be far off) he will make his own production of Swan Lake for one of our UK companies and it will be as beautiful and perfect as one of his arabesques or  landings. That would make the ideal next major anniversary of my ballet-going  (if the pension holds out.)

I am here celebrating 50 years of going to ballet at ROH. Thinking of Linda.

I have the happiest memories of some of Wheeldon's early abstract works when he was hailed as the new choreographer of his era- e.g. seeing Cope and Bussell in Tryst: I still have the postcard on my wall, and my memory is that it was very beautiful - danced I think to James Macmillan music. More challenging. I don't think we have seen these since? Could be wrong and maybe they would not stand up now, I don't know.

W T is a bit on the literal side I have to agree, the music is a bit bland and, as I have said too often probably, there is too much writhing......

Of course Psychosis was based on the Sarah Kane play which is a byword for horror, so it was bound to be horrific whoever directed it!

But googling this director has not much reassured me I must say.

I chatted to Linda in an interval at ROH once,  without making the connection with Capybara. It quickly became obvious this lady knew more than i would ever learn! I thought she would be my dream person to have next to me at the ballet. But as Lizbie1 says, never remotely didactic on this forum, such a civilised presence.

I shall think of 'Capybara' on Thursday while watching Muntagirov and Kaneko, her spirit very much hovering in the wings.

I've seen WT several times, but try as I might just now, could not recall any of the music at all:  so you're right I think, and this must be a major reason why many posts report a lack of 'emotional connection'.

However, I always loved the act 2 sheep-shearing frolic. There has been little joyful frolicking about on the stage recently  (or indeed anywhere) so I look forward to that.

7 hours ago, art_enthusiast said:

I feel like I might have to see Alice once though if Stephen McRae is back as the Mad Hatter (I’ve never seen him perform it live).

For me it would be the only reason to go to Alice which I very much dislike. He was fantastic though in this role, literally made for him. I remember opening night when he brought the house down. I do hope  Steven will be fit enough.

15 minutes ago, JohnS said:

I think this was one of a number of ‘missteps’ during the early phases of experimental pricing which has been corrected for later phases - not that it helps with Winter’s Tale prices. But I think there remain a number of missteps which ought to be addressed for 2024-25, particularly stalls circle bench seats for ballet which are more expensive than for opera and, if I recall correctly, the Pappano Gala.

Pricing is in the Friends' email just arrived so I look forward to your thoughts on it John after all the work you did last year.

Pricing is also up but I leave cleverer heads to analyse that. There is also a multi buy discount: but only for the stalls....

There must be many factors I would have thought.

It would be interesting to see a breakdown of costs. For example, looking after the dancers must cost a fair bit in terms of gyms, physio and so on. Pointe shoes, we know, is a big bill. And so on.

We understand that there is concern regarding when ballet casting will be released. We always aim to share this in advance of Friends' booking opening and plan to do so for the Autumn Season. However, as you know there are sometimes unavoidable circumstances which occasionally means some casting is delayed. We will continue to share ballet casting as soon as possible via the E-Newsletter.

Message just received in a Friends' email.

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

Good for working Londoners yes - but bad news  for those of us who are part time or retired, who don't live in London,  for whom the rehearsals were wonderful opportunities for an affordable ballet - overnight stays being what they are and trains being what they are.

 In my Friends' survey response I wrote enthusiastically about how good this opportunity was, and how I would like to see even more access to daytime rehearsals, even being happy to pay a bit more- so am very sad to see it  reduced.

After reading all about it, I'm now more confused than before...having tried to explain the change to someone who asked me I realised I couldn't.

It would help if someone could tell me, which functions does the body 'Royal Ballet and Opera' deal with-? or perhaps, when ACE gives a grant, is it to RBO or is it to 2 separate organisations? Are they really saying some people at ACE were giving a grant to ROH without realising it was funding ballet as well? Really?

And it still doesn't make sense that the theatre  is still called the Royal Opera House if they are focusing on 'the place where we work' 'being about' both ballet and opera

(though personally I do not want the name to change.)

Nor do I understand if ROH is separate to 3 other organisations how decisions get made about ......anything really.

Possibly I am just being slow, and maybe someone from 'RBO' or even ROH can explain.

36 minutes ago, annamk said:

I wouldn't book any full length ballet without knowing the casting. 

I would.sometimes.....eg for Friends rehearsals ..a lucky dip can be an enjoyable surprise and often an education.

But not as a regular thing and not for multiple viewings. 

Casting info featured in the recent Friends survey. I think most of us will have said how important it is....

Lack of it really will make being a Friend a lot less attractive or even...pointless. 

I don't believe they didn't know ballet was performed in the opera house,  but they might not have known who was in charge of funding for the Royal Ballet, was it the RB or was it 'ROH'.

I wouldn't have been clear myself.

I am still not clear exactly what functions the new RBO covers-as opposed to the separate companies. Is a grant given to ROH- as was, RBO now- which they then allocate between opera and ballet? does ROH/RBO look after all marketing for both? does a dancer have a contract with RB or with RBO? etc. I know it is written down somewhere and i shall get round to reading it, but, to be fair I can understand many people not knowing these  things.

I'd want to see the survey question. Did it actually ask what was performed in the House?

Or could it be confusion about the  umbrella and separate organisations?

I think it's meant to look 'contemporary', 'edgy' or whatever......with the bit of old board in the background. We wouldn't want anything pretty!

Rather funny.

It does depend on the occasion and, apart from displays of incredible brilliance, first night of the season is a good example, or perhaps a dancer back from injury. Sometimes it is just a spontaneous burst of warm feeling from audience to performer/s and that's a nice thing to be part of. We don't have that much opportunity to show our appreciation and affection.

What irritates me is people applauding mechanically whenever the music pauses, without paying attention to what's actually going on....especially in Swan Lake.

What's yours Dave?

😀