Mary

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.

Particularly frightening to have that happen near you in the upper slips, where it can feel a bit exposed anyway -  most unnerving. I am sorry for the audience who had their experience spoilt in this way.

it sounds as if the dancers did brilliantly and I do hope Hirano makes a speedy recovery.

56 minutes ago, Balletfanp said:

In the Nureyev version, Siegfried does get a solo in Act 1 (plus a lot of extra dancing all over the place - well, couldn’t have Nureyev sidelined!). The Act 1 solo was a bit jaunty and didn’t really work for me in the context of the rest of the Act - it was as though Nureyev was determined to shove Siegfried in whatever! That’s the version with (for me) the rather bewildering ending in Act IV where Odette drifts off with Von Rothbart as Siegfried quietly drowns - I think that’s infinitely worse than the Scarlett ending! 😁

I've seen a Russian company's production with Siegfried drowning- years ago, I can't remember who it was, but I'm afraid the sight of a very bouffant wig slowly bobbing about just above the cardboard waves then disappearing was very funny and ruined the ending...

12 minutes ago, San Perregrino said:

As far as costumes go, I’d get rid of all black tights and shoes. A lot of the choreography especially in Act 3 is lost to view because black blends in to the richness of the Palace background rather than standing out. What’s the point of making all that effort for the audience not to be able to the skill involved? 

Thanks for reminding me- I left black tights off my list and Siegfried's black tights against black floor are indeed very annoying and absurd when we all want to see his legs so much.

Like others there is plenty I really like in this production, especially the wonderful sets and costumes, Siegfried's solo and the reconciliation pas de deux - but it does need revising I think.

While I agree the ending may not be  'universally' disliked,  the discussion here and on previous occasions suggests there is perhaps a majority who would like to see it tweaked, at least.

In the unlikely event that I was directing the next revival and had  a free hand, I would tweak it along the lines of some of the ideas on this thread, making it match the soaring music properly and preventing Siegfried looking like a pathetic weed; I would also:

change Benno's Act 1 costume so he looked less like Buttons in a pantomime;

cut about half his dancing in Act 1  and give it to Siegfried ( I find it very frustrating when Siegfried just teases us with tiny bits of dancing here and there);

cut one of the pas de trois, possibly the second one- (they have delighted me long enough.....)

Luckily for you all I am not going to get the chance....

I would advise any ballet lover to watch Alice on dvd first if you haven't seen it and perhaps save some money.

I disliked it on the 1st night, thought I should try again and really disliked it even more second time!...

I've had another survey about being a Friend today- including a section on booking, so I expressed pleasure that it all worked last time but did comment again on previous problems, hoping they have been solved now.

The survey was quite good this time and did allow space for comment on a range of issues.

No need to explain or aplogise for a less than positive review I hope- I am sure we all welcome honest responses,  no matter how critical  (so long, of course as they are appropriately worded.)

Plenty of us have commented on Act IV not really working.

I'd love to see some photos.