Mary

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?

😀

We must enjoy Swan Lake while we can.

It has pretty much has sold out hasn't it? despite 2 long runs. There does still seem to be a public appetite for the big classical works in this country- BRB Sleeping Beauty has done well. Also,  given we can no longer see the Russian companies here, there is a lot less than there used to be.

So for the biggest national company to move away from this heritage is odd indeed.

If I were one of the Principals with a classical focus  I would certainly be aiming for even more guest performances round the world.

Sadly I can't really afford to fly round the world to see them and it is a sad loss so far as I am concerned.

To be fair - I am happy to have Cinderella, Onegin and Symphony in C though, 3 works that have appeared in multiple posts on every single wish list on this forum for years.

Two-thirds heavenly- I wouldn't describe Prodigal Son as heavenly, personally - I have never liked it.

I know that probably puts me in a small minority...It has some great moments,  but a lot of ugly moments too in my eyes.

...and there are so many things I would rather see.

Absolutely - thanks goodness for BRB's Fille:  I just bought a second performance.

Alice might seem to some a good one for first-timers but I don't think so myself. It would appeal to some but it has grotesque elements (to say the least) which not everyone will enjoy, a lot of musical theatre style,  and not enough choreography.....in my view. It would give a strange idea of what a ballet performance is like, whereas Fille has beautiful classical ballet and fun too.

Two Wheeldon full length ballets in one year ..within a few months: not much variety. 

No RB in the autumn for me then...that is  very sad.

I can go on holiday I suppose. But I always look forward so much to the first night of the new year. It is a let- down to be honest.

But Symphony in C....wonderful. 

I agree the prologue can work, but ever since the first night I have always wondered if it was really necessary. Productions worldwide have managed all these years without it..

I also wondered if the idea might have come from the use of a prologue in Winter's Tale:  they are quite similar!

10 minutes ago, Scheherezade said:

almost three hours with two helpfully short intervals of a mere 15 minutes each - ROH take note -

I too would welcome shorter intervals BUT I can't help feeling one reason for them is that Sadlers is happy to sell masses of food and drink to be consumed at leisure all through the performance, whereas ROH - rightly- only allows this in intervals, so to make any money from the bars, intervals need to be longer.

Given a choice between shorter intervals, and no food and drink in the performance....no contest.....

(Someone on the forum suggested ROH might have shorter/fewer intervals and leave the bar open for half an hour afterwards- I would really welcome that,  but no doubt it would be tricky for them as clearing up would have to be done very late.)

Lovely to see BRB's glorious show- it's a really pretty production and I agree with all the positive comments above about the tempo, orchestra and the excellent dancers but I found all the munching, rustling etc completely out of place, lacking in respect for the peformers,  and  extremely distracting.

4 hours ago, alison said:

Just read the scenario for possibly the first time ever for this production(!)

 

"She decrees that he must choose a royal bride at a palace ball to be held in his honour the following evening. Weighed down by the responsibilities of both kingdom and imminent marriage, Siegfried is comforted by Benno. Von Rothbart orders Siegfried to go inside. Siegfried refuses and wanders away alone.

...

As dawn breaks, the power of Von Rothbart draws Odette away from Siegfried and she changes back into a swan.

 

Having rushed back from the lake, Siegfried is met by Benno who instructs him to prepare for the ball.

... The Queen realizes that Siegfried is missing and commands Benno to distract the court." 

 

I shall now probably spend the next few performances wondering what on earth Siegfried has been doing all day ...  

I don't recall some of this wording: surely Benno should not be 'instructing' Siegfried..surely vice versa?

It is on at some Picturehouses this afternoon.

I think there are some encore screenings on Monday?

Yes I commented on this on another thread- much better than previous surveys and I did comment on the need for the booking website to work every time, relaibly,  and a few other issues- a welcome opportunity to give feedback on important things.

No doubt the full facts will emerge and at present we don't know them.

But it does make me think how very wise it is not to allow glass into the auditorium and I hope they stick with the rule and police it even more carefully (I know they do  - I have often seen people being turned back with glasses)- but it  is perhaps easier to sneak a glass into the door to the slips. Someone could have been hurt. I wish other theatres would take note.