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Everything posted by jmhopton

  1. Well I had my reply back from Customer Services and, surprise, surprise, the mini and family packages are old news. There are just the total and selected options available as already noted. I did reply back, politely saying perhaps it would be a good idea to remove this page as other people could find it and get confused. I also asked if you wanted to book a complete ballet package but then find you couldn't attend one performance or any subsequent dates, what would happen? Would your package discount become obsolete or would you just get a voucher for the performance you couldn't attend? I was told you would get a gift voucher so your other performances would still be discounted so that might be helpful to know.
  2. Yes I did wonder if the Mini and Family packages are too good to be true, especially in the current economic climate. I did ask Customer Services for package booking dates and was just now told that Friends (I'm assuming that's basic Friends) would be 13th Aug and public booking would be 19th August . Will have to wait and see. I hadn't seen the page about Mini and Family packages when I emailed them. I think I'll reply and ask them.
  3. Thanks everyone. I too was browsing the price list for Giselle and saw the package prices and was just going to post it and ask when package booking opens when I found it's already been done for me. To revert to Dawnstar's package query on the 16th June (page 3). The link she provided has now been updated (https://www.roh.org.uk/visit/tickets/advance-booking-packages) and mentions 'mini packages ' which might suit me Mini Packages: offer the chance to see a selection of three productions on fixed dates. You can choose a package of three operas, three ballets or a combination of opera and ballet. Also family packages which may be of use to someone. Family Packages: offer half-price tickets for under-18s on a selected production. You can request up to two full-price adult tickets, with up to four half-price tickets for under-18s. When you use this page you click on a link that takes you to the Autumn 2021/22 package page mentioned below so I'm assuming the mini and family packages are still available though I suppose the page may not have been updated. No indication as to what the discount is or where the seats are. There is no mention of 'mini packages' in the already mentioned link http://www.roh.org.uk/packages unless it's the 'design your own' package with 5% discount for amphi seats or 10% for Stalls Circle or Orchestra Stalls? If so, there is no mention of this package being limited to 3. Saying package booking is open 'A week before the standard booking period' for different levels of Friends is a bit vague. Is it an exact week ie the 10th August for bargain basement Friends like me? Will they email out to inform us about package booking or will they hope we'll forget about it and pay full price a week later? It's so long since I booked a package I've forgotten everything about it.
  4. SkyArts are showing RB Nutcracker (no indication of cast or date) on Sunday 18 July 6.30am-8.30am. They're also showing Northern Ballet Casanova Mon 26 July 10.15pm to 12.10am. (Note the adult times!)
  5. I see, it does make more sense just to rehearse the pigeons on stage so they're not confused. I'm intrigued about what you say, Janet about the differences between RB and BRB Two Pigeons productions. How do they differ?
  6. Beautiful Janet. But where are the pigeons? Surely they need rehearsing too (or their RB handlers do). I can't remember if I've ever had the pleasure of seeing BRB do it, only the RB. Several times something went wrong with the pigeon handling. I think Vadim was the only one who was able to manage them. I also remember what a stunning Girl Beatrix was. I'd been looking forward to seeing her reprise that role but alas not to be.
  7. Terrific photos, Rob. You really captured the moment. I was there and I wasn't sure who the flower givers were as they were all wearing masks. I thought I recognised Kevin, who was first, then Gary Avis and Christopher Saunders but not sure about the others. I'll comment more about the performance when I'm home. I'm on the train and it's very shaky!
  8. Also Tatiana in the Dream. Is there anything in Shakespeare that means she always has to be a strawberry blond, especially as many of the dancers have dark hair? It looks very strange.
  9. Well said, Sim. I totally agree, and with zxDaveM who points out a ballet choreographer could be missing out on the opportunity to work with RB. If it is to do with the Arts Council it's probably a board decision and not just Kevin so mustn't be too hard on him. However, it's ironic they could be appointing someone who, if he has any affect at all on the rep., could be leading to yet more cheaper, modern programmes that have to be subsidised by the classics that people actually come to the RB to see.
  10. Thanks, Darlex. Us classicists must stick together. We seem to be an endangered species and must be careful not to become extinct!
  11. I have actually joined the Friends (bargain basement version) for the first time in over a decade before I heard this news just so I can guarantee tickets for the RB classical offerings (If I can afford them!) The price they are charging is making ballet elitist as only the wealthy will be able to afford good seats. However, modern ballet tickets seem to be much cheaper, possibly to attract a younger audience, though I don't know how this is squared with paying off a possibly huge ROH deficit. Presumably it's all to do with the Arts Council insisting on their being 'inclusive' rather than excellent. It looks like us despised classicists are expected to foot the bill for that. Even when I joined the Friends I was concerned for the direction the RB was taking. Kevin carefully nurtures arguably the most talented Company of dancers we've had in decades, with strength and talent from the apprentices through to the principals, but then employs choreographers for them who do nothing to develop their classical balletic vocabulary, indeed may even hinder it. I know classical choreographers are thin on the ground, and possibly out of fashion, even with the ballet directors who you would think would nurture them. So, well done Valentino for 'coming out' as a classicist. Long may he continue to delight us with his classical offerings!
  12. Yes, I'm with bridiem on this. We are talking about the Royal BALLET Company (the clue is in the name!) and not the Royal hip hop Company. I know ballet choreographers are a bit thin on the ground but surely Wayne Macgregor provides more than enough contemporary work (I won't call them ballets) for any classical company. As FionaE says, thank goodness for Valentino Zucchetti! Why not give him Liam Scarlett's Choreographer in Residence post, then at least we'll have one classical choreographer in the Company. (Of course he may not want a formal choreographic role yet if he still wants to concentrate on his dancing.) The Gerald Dowler article in this month's Dancing Times is excellent and says a lot I've been concerned about for several years about the RB in particular trying to do too many different styles (and possibly BRB too now under Carlos). He says 'The result is a choreographic cacophony that sees the classical ballet idiom diluted, weakened, and ultimately threatened.... The saddest part of this erosion of classical ballet is the active role played by the directors of both schools and companies... Admittedly there is currently a real dearth of ballet choreographers of quality, but is that a valid reason for bringing in people who have little to no experience or meaningful understanding of the form?' Hear, hear!!!
  13. Sorry, I was getting mixed up with the livestream casting. We'll be seeing them doing SB in that and Winter Dreams pas de deux on Sunday. Still wonderful!
  14. SkyArts are showing the Australian Merry Widow (again!) Wed 7th July 7.15am-9am Also Royal Ballet Sleeping Beauty with Nunez/Muntagirov Sat 10 Jul 6-8.30am. This will nicely whet my appetite for seeing them do the last act on stage at the ROH the next day.
  15. Apologies to Janet or Ian if this has been posted in the Links but it just caught my eye in the latest Sarasota newsletter. https://www.fox13news.com/news/sarasota-teen-headed-to-london-after-winning-scholarship-to-royal-ballet-school
  16. Full page article in this coming weeks Radio Times under 'Streaming' about an offer they have for Marquee TV. 'Radio Times readers are being offered 50% off an annual subscription to Marquee TV (£44.99 rather than the regular annual rate of £89.99. )' If you register you get a weeks no-commitment free trial and it's only after that your money gets taken. Offer ends 31 July 2021. I would put all the login details mentioned in the Radio Times but don't know if I'll be contravening any Forum regs by doing so. However, I can do so later if the mods think it is OK or anyone can pm me for details or buy the new Radio Times dated 3-9 July. I haven't actually been on the Marquee website lately (below) but the website is offering 30% off anyway if anyone misses the RT offer. The first link details their own 30% off offer. The second link details the ballets on offer. Reasonably varied but many either been shown on tv or livestreamed. However, there is also theatre and opera, including some streaming of the new Glyndbourne season. Just click on the browse option at the top of the page on the second link. https://welcome.marquee.tv/free-trial?gclid=CjwKCAjwieuGBhAsEiwA1Ly_ncqePrQ0kQL4ocdFzN0P_Di_c56XnTB3l5ln0_-NJzcx0T8xwOl1hxoClY0QAvD_BwE https://www.marquee.tv/categories-ballet
  17. Admittedly the Ashton performed by Sarasota Ballet next season is a disappointment but what rare Ashton richness they've provided through their livestreams during the pandemic. Thanks to them, during this last year I've seen more Ashton performed than I've ever seen before. Some of it new to me, some I haven't seen for years and some a welcome return of an old friend. Ashton admirers have much to be grateful to for Sarasota Ballet, and hopefully the following season will see Ashton back to where he belongs as the pre-eminent choreographer on the Sarasota stage. Also, to return to previous comments about the composition of triple bills. I've read with interest the various opinions about them. I understand why people think a triple bill should be a diverse mix of choreographers and styles to challenge audiences and perhaps take them out of their comfort zone. But from a purely selfish point of view I am relieved that this form of programing isn't nearly as prevelant as it was 5 or 10 years ago. Then, regularly, triple bills usually consisted of one ballet I was really keen to see, one I wasn't too bothered about and one I didn't want to see at all. Consequently I very seldom attended a triple bill as I couldn't afford a 400 mile round trip and a hotel stay just to see 40 minutes of ballet. On the other hand, recent mixed bills have been strong contenders for my favourite ballets, with the Ashton, Firebird and Winter Dreams mixed and triple bills. Long may they continue!
  18. Very interesting, Floss and as usual you make some very pertinent points with which I agree. It's interesting the Ashton Foundation looks after Les Rendezvous on behalf of the RBS which receives an income when it's staged, and yet Kevin shows no sign of staging it for them to receive the income. Indeed ENB are the ones staging it for their school which is slightly bizarre. I do hope they stream it. I did request it. Like you say, it's not just Ashtons work but De Valois, Massine, and much of the Ballet Russes choreography as well that is being neglected. I too thought Facade would be a great inclusion in the divertissments. Interesting that Voices of Spring is being shown last. Kevin obviously recognises it's a great crowd pleaser and realises the importance of finishing the divertissments on a high. Much as I'd love an Ashton Society who would fund and organise it? What could it achieve that the Foundation doesnt given the illustrious names on the Board? How could it promote Ashtons works if the RB Director isn't willing to give him stage time? Perhaps more of us need to contact Kevin to make our feelings felt. I've emailed him a couple of times expressing my concern about the lack of Ashton rep, especially rare items, and the worry much of it will disappear if it isn't staged while people like Christopher Carr and Anthony Dowell are around to remember it.
  19. BalletLorent Rumpelstiltskin on SkyArts Wed 23rd June 7.30am-9. 2018 Review from the Guardian https://www.theguardian.com/stage/2018/apr/08/rumpelstiltskin-balletlorent-sadlers-wells-observer-review
  20. Apologies if this has been posted elsewhere but I got this email from Trafalgar Studios with details of new cinema cultural events. Some of them are plays and Metropolitan Opera season but there is the 2021/22 Bolshoi ballet season as well. https://outlook.live.com/mail/0/inbox/id/AQMkADAwATYwMAItZGQAMzQtOTFjMC0wMAItMDAKAEYAAAO%2FXQFqTsSFTrjvHgqOeEmSBwCPA1%2Fr9w2lRZyeVAuTnF7CAAACAQwAAAB4WvjRaiXXTIQShAX9COQgAAP%2FRTZNAAAA If this doesn't work (it is linked to my email) this is the Bolshoi link. https://drive.google.com/file/d/1FhxDwQIygZV9rHUGy69T83cS02Yn8NH-/view Spartacus Nov 7 2021 Nutcracker Dec 19 2021 Jewels Jan 23 2022 Swan lake Mar 6 2022 Pharaoh's daughter. May 1 2022
  21. Yes, I'm with you Dawnstar. I'd hoped the diverts were going to be a bit innovative but perhaps not as innovative as they turned out to be! There's no pleasing some people! Having seen how terrific Vadim was in Winter Dreams I wish he'd been streamed in that not SB (though it would have been a lovely touch to let Beatriz' last performance to be in a 'major' role; albeit rather truncated.) Still, perhaps it was her choice to finish with this role if Christopher Wheeldon has so such a big influence in her career. I'm thrilled the recording will include Naghdi/Sissens in Morgen. Even though it's not a piece I especially enjoy it's always good to see Joseph in different roles and a livestream too so international exposure for him. Lovely they're finishing with Sambe/O'Sullivan in Voices of Spring; one of my favourite Ashton pieces. I'll have to replay the Foundation rehearsal of it. So pleased SheilaC and I have tickets for the final matinee so we'll be able to see Vadim in Winter Dreams and Beatriz' last performance. I wonder if it will be marked in any way?
  22. I've got to keep posting to get to the next level though not sure if I fancy being a 'Veteran'. Sounds rather old! I worked out that if I can find any tickets I can actually afford I can see Vadim/Naghdi R&J 22nd Oct, Kaneko/Bracewell mat on 23rd Oct and Hayward/Coralles that evening. It would mean a 2 night stay but 3 performances and only one lot of travel expenses. Later on I could go to the Friends Nutcracker rehearsal 23rd November and see Vadim in Nutcracker in the evening (also O'Sullivan/Hay!) It would have to be an overnight stay and I could see Lamb/Sambe in a Giselle matinee the next day. If I'm feeling strong enough I might manage an early start Sat 27th Nov to see Morera/Hirano Giselle at 11.30 and Hayward/Campbell at 5pm and even get home the same day. I'd love to see O'Sullivan/Sambe in Nutcracker but don't know how practical it will be to attend a matinee on Christmas Eve with the travelling. I'd also love to see Stock/Sissens in Nutcracker but they're not doing a matinee. I suspect a lot of it will be wishful thinking!!
  23. Apparently the comments and 'likes' I've made in this thread have made me into a Mentor in the new Forum layout. No idea what it means or how I got there but it sounds very impressive!
  24. Checking out the R & J prices with fascinated horror. I know mixed bill prices are always cheaper but the difference between the £31 paid for last Sundays matinee (first row of the amphi, next to left centre aisle A49 and A50) and the whopping £91 asked for the same seat in R & J seems incredible, even allowing for pandemic inflation. Also, one of the seats I had was restricted legroom and the price for this seat is now just the same as the others whereas previously it was discounted. I assume the matinee cheaper prices that used to exist haven't returned. A stalls circle seat C80 I had for Cellist double bill was £34, same seat for R&J is £107!!! SC C78 and 79 for 2020 Onegin was £52, for R&J £107. These are seats I really like and use a lot but I certainly can't afford £107. Can't believe these prices and they'll affect the RB loyal supporters who often aren't the wealthiest patrons and who want to go to different casts, the most. Like many RB supporters I have to factor in £100+ for train and hotel fares before I've even bought one ticket so prices like these are going to curtail my balletgoing quite a bit. Has taken a bit of a shine off my excitement about the new seasons dates and casting.
  25. Well, I have to say I really enjoyed both the livestream performance and the Sunday matinee. Apollo has never been a favourite ballet. In fact I remember hating it when I saw the Kirov (as they were then) do it ages ago, especially the swaddling bit at the start which I found hugely embarrassing. This time around the swaddling didn't seem to resemble the unravelling of an Egyptian mummy and was sensitively done. I still don't like the actions of one of the muses when she appears to double up with stomach cramps and then seems to be sick. Sheila C very helpfully pointed out it was all about voice projection for singing but I still think it could have been handled better, choreographically. Having said all that I found the level of dancing incredibly high from both casts. As I've seen so few performances I don't know enough about the ballet to comment critically about style and technique. This is where the livestream comes in handy as I'll be able to revisit it as many times as I want over the next few weeks. I thought both Matthew and Vadim terrific and, while the ballet is probably not likely to ever be a great favourite, their performances made me enjoy it more than I thought I ever could. The muses too obviously played their part. I was very impressed with Melissa Hamilton whom I think is an often overlooked dancer. I'm glad she got to play a significant role and in a livestream as well. Mayara Magri was excellent too. She really seems to be coming into her own with her promotion to principal. I was with the people who were a bit surprised she was promoted so soon but on this performance she has principal qualities that shine through now, so well done Kevin for recognising this and promoting her now. Tchaikovsky pas de deux. On the livestream, Vadim and Marianela sailed through the very difficult looking variations making them look like a stroll in the park and all with megawatt smiles testifying to their joy of dance and in being in front of an audience again. The audience responded with the biggest cheer of the night, hugely deserved. The Sunday matinee didn't go quite so smoothly with the last minute cast change of Marianela replacing Osipova, partnering Reece Clark. I didn't know anything about the cast changes that kept appearing on the website indicating Vadim was partnering Marianela but it might have been better if they'd gone ahead with that as they were obviously used to partnering each other for the ballet. Perhaps he felt he couldn't commit as it came straight after Apollo, which I suppose is fair enough. Anyway, it was OK apart from one of the fish dives going wrong. Reece gets so many great roles and is so good in them I'm surprised he wasn't promoted to principal though I'm sure he will be at the first opportunity. Dances at a Gathering. This has become a huge favourite for me since seeing it at the cinema and then the theatre a couple of years ago. I thought I would get bored after about half an hour but not at all. Different casts keep it fresh and all bring something slightly different to fairly abstract sort of roles. Reece Clark again stood out for me in the livestream taking on the role Bonnelli had in the previous recording. Anna Rose and James Hay were outstanding in their pas de deux. That is a partnership I would love to see more of. The matinee casting was quite similar to the Cellist recording and it was great to see Alex Campbell back as the Brown Boy. Everyone was on top form and it was a great re-introduction to the ROH and RB. A highlight for me was sharing the performance with SheilaC. I bought 2 seats as I couldn't get singles. Sheila bought one of them so we both made our ROH debuts after 15 months with a friend which made the experience twice as enjoyable. Being able to sit with a friend and discuss the performance is all part of the ordinary enjoyment of attending the ROH and this experience made me realise how much I've been missing these taken for granted interactions we have been starved of for so long. It seemed even more appropriate that one of the ballets we saw was DAAG as it seems to be all about celebrating friendship and ordinary human interactions that so many of us have missed for so long. Now I can't wait for the Sleeping Beauty matinee and whatever divertissements are on offer.
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