jmhopton

Have just signed and forwarded it to a friend who is very keen on orchestral concerts.

I too wondered if the RB covid pay cut had been restored and, if not, would the orchestra decision to strike (which apparenly was taken in July) make them think about their own pay restoration. Obviously the orchestra hopes the increased publicity for their cause will make strike action unnecessary (as do we all). I doubt the RB would dance to any form of recorded music as this would seem like going against work colleagues.

As others have pointed out the ROH (like many other huge organisations) has its own fair share of inessential wasteful practices which could be economised on without penalising hard working orchestra members who are essential for all performances. A moratorium on new ballets (even if it's just for a year) will be a good start. They could perform more heritage works and save on choreographers,  sets, costumes etc. I'm sure that would be a start towards helping the orchestra (and possibly dancers too if they haven't had parity restored).

3 hours ago, JNC said:

I get the financial argument to a point but there seems enough money to do a new MacGregor every year…

I agree totally, JNC. Like most people here I'm OK with the Nutcracker if it steadies the finances but then I'd like them to use more of those finances to devote to at least one heritage programme a year (is two too much to ask for? with possibly a full length such as Sylvia and a mixed bill whether it be Ashton,  Macmillan,  Balanchine or Robbins). It's so long since many of their short ballets have been seen they will be 'new' ballets to much of the audience.  I know this year we're not doing too bad with the Macmillan triple and all the Ashton in June including Sarasota Ballet, but like JNC says if the RB is as short of money as Alex Beard and Kevin O' Hare say, how come they can afford a new full length commission every year? I know a company needs new works (and possibly the Arts Council demands it) but does it have to be every year? I've said before, the RB huge  rep. can end up being a bit of a curse as new works take a lot of finance and stage time and add to the rep, so the heritage rep. gets squeezed out between the new works and classical cash cows as sadly they are deemed most dispensable. Its terrible that someone like Vadim may only have 3 Don Qs and 2 or 3 Nutcrackers before Christmas and then 2 or 3 Manons and Swan Lakes after Christmas before the Ashton in June.  No wonder principals are always guesting elsewhere, they've nothing else to do, whereas if there were more short programmes they'd have more to do and we wouldn't be as bored. I don't see why they can't do a double or triple the same time as Nutcracker for those who want a bit of variety for their Christmas entertainment.  I wouldn't be surprised if they don't do Cinderella next Christmas for a change to recoup their outlay, and was Coppelia financially successful when they did that Christmas 2019? There may be occasional alternatives to Nutcracker EVERY year.

 

Avanti have been awarded a new long term (3 year) contract to runs trains on the West Coast mainline to London/Scotland. I just despair. Yes, things have improved a little over the past few months but no one using them can have any confidence at all it will be sustained.

 

https://www.manchestereveningnews.co.uk/news/greater-manchester-news/avanti-west-coast-awarded-new-27740866?IYA-reg=ba3e16f8-aee9-438c-8378-12ca9cb6c1d4

1 hour ago, bridiem said:

Actually, I have thought of another interpretation that is 'definitive' for me: Vadim Muntagirov in Ashton's Dance of the Blessed Spirits. I have only seen him dance it online, but he was, fundamentally, perfect. (And because this was during the pandemic, his performance had a unique and very poignant significance which only added to its power.)

I was just going to mention this 'definitive for me' point, bridiem. You just beat me to it. Of course, no performance is definitive full stop otherwise there would be no room for individual interpretation, let alone no point in anyone else attempting it. All performing arts are so individual and unique you could see a 'definitive' performance one night so you have to go and see that person do it again, possibly to be disappointed the second time as either the artist (or yourself) may not be having a great day. Sometimes, just seeing a 'definitive ' performance can place intolerable expectations on the next visit. When I saw Osipova/Vasiliev debut Don Q at the Coliseum I thought that was a definitive performance.  So much so that I had to se them again ASAP,  the following Saturday.  To me, that second performance was a bit of a disappointment as my expectations were so high. But I heard other people say it was even better, so individual perception plays a part too. More recently after seeing Vadim debut in Mayerling I was slightly apprehensive that his second performance could not live up to the (for me) seemingly impossible high standard he had set in that debut. (How could a debut performance of the most challenging role in classical ballet be so amazing?) Unbelievably his second performance exceeded his first. I just didn't want it to end, or forget a single moment of it. But the beauty of ballet is someone can do a completely different interpretation the next night that is someone else's 'definitive ' performance and so it goes on. Perhaps the constant search for our own individual 'definitive' performances is why we keep coming back and seeing the same ballet with as many different casts as we can. Long may it continue!

Is it my eyesight or is the quality of the 2022 Ashton triple not as good a quality as a stream as we've come to expect from the cinema broadcasts? If so, is this normal ? Is it filmed in HD? It's just some of the faces I find difficult to make out at a bit of a distance though close ups are obviously fine. Now I've got it I really need to check it out with other streams that were cinema broadcasts (most of them). Love the performances obviously (especially Month which is rapidly becoming a contender for my favourite short ballet) but wondered if the quality issue is just me. It's not the recording is poor (far from it) but just perhaps not as sharp as the cinema broadcasts.

21 hours ago, Bruce Wall said:

Am I just VERY old? .... I'm amazed - nay, flabbergasted - in terms of Onegin that not ONE person here reflects the likes of Haydee (for whom the role was created after all), Maximova, Seymour or Evdokimova for Titania or Sombert or - for heaven sake - Cragen in the title role ALL OF WHOM DANCED IT FOR LFB IN LONDON BEFORE THE ROYAL EVEN ATTAINED IT

 

I never saw either Haydee or Cragen dance the roles, Bruce so I can't really comment on their interpretation, and perhaps that's the same for most people who haven't mentioned them. I did see a very old recording once but the quality was so poor I couldn't really appreciate their performances. I think I did see ENB (were they still London Festival Ballet?) dance it at the Coliseum, possibly in the late 1980s but don't remember much about it. The first (and in many ways the most memorable) performance I've seen in the title role was Adam Cooper. I would have LOVED a recording of him doing it. He did this amazingly dramatic arm movements when he was exiting the mirror which I look for every time I see it but am usually disappointed.

Onegin

Adam Cooper

Tatiana Alina Cojacaru

Olga Alina Cojacaru/Anna Rose O'Sullivan

Lensky Ivan Putrov/Vadim Muntagirov

 

Manon

Marianela Nunez/Alina Cojacaru

De Grieux Vadim Muntagirov/Federico Bonelli

 

Giselle

Alina Cojacaru/Francesca Hayward/Natalia Osipova

Albrecht Vadim Muntagirov/Mikhail Baryshnikov

 

Mayerling

Federico Bonelli/Vadim Muntagirov

Mary Natalia Osipova/Laura Morera

 

Don Quixote

Kitri Natalia Osipova

Basil Ivan Vasiliev/Mikhail Baryshnikov

 

Month in the Country

Natalia Laura Morera

Beliaev Vadim Muntagirov

Vera Anna Rose O'Sullivan

 

Le Corsaire

Conrad Vadim Muntagirov

Ali Faroukh Ruzimatov/Igor Zelensly

Medora Altynai Assylmuratova

Gulnara Yelena Pankova

 

La Fille

Lisa Lesley Collier/Roberta Marquez/Francesca Hayward

Colas Carlos Acosta/Steven McRae

 

La Bayadere

Nikya Altynai Assylmuratova/Marianela Nunez

Gamzatti Aurelie Dupont/Natalia Osipova

Solor Vadim Muntagirov/Igor Zelensky

 

Sleeping Beauty

Aurora Francesca Hayward

Prince Alexander Campbell

 

Northern Ballet

Anything featuring Jeremy Kerridge; Scrooge in Christmas Carol, Sancho Panza in Don Q, Renshaw in Dracula, Mercutio in Romeo and Juliet

 

 

Why can't the ROH streaming service cast to TV by using the simple cast logo you get on many YouTube videos? Is this logo specific to YouTube? Whatever it is it works very easily.  I'm not exactly a technological novice but I've no idea what Google Chromecast or Amazon Firestick are and I've really no interest in finding out. If the ROH can't make their streaming easily accessible to all they shouldn't be surprised if they don't get as many subscribers as they could. Not everyone wants to watch performances at a computer or laptop. Some people still enjoy seeing them on TV and if they can't manage it easily why bother subscribing? Having said all that I have subscribed to the streaming for a month to see the Ashton triple as I've made such a fuss about them streaming it, but I still think they should make it easy to cast to TV.

 

 

Free Livestream from Wiener-Staatsoper 16th Sept. if you click on the link there is nothing there yet to say it's coming. No idea if it is just livestreamed or it will remain up longer, or what UK time it will be streamed. The Austrian staging time is 7-9.45pm. Not sure if you can just watch by using the link or if you will need to register and login first.

 

 

For all who are unable to experience Don Quixote live: Watch the performance on 16 September for free in our live stream from home at play.wiener-staatsoper.at/   With Liudmila Konovalova, Davide Dato, Brendan Saye, Ketevan Papava, Olga Esina, Ioanna Avraam

9 hours ago, PeterS said:

 Now is probably a good time to ask the questions while the project is still in the planning stages and before things are set in stone.

Good idea, PeterS. I'll email Kevin the beginning of October once they're back after their summer break.

I certainly will carry on demanding,  especially for the Ashton programmes next summer as none of them are being filmed for the cinema relay. Hopefully nearer the time they will announce streaming but if they don't I think an email to Kevin O' Hare will be in order, hopefully from several Ashton enthusiasts to maintain the 'popular demand '.

4 hours ago, Sim said:

Thanks Joan...you have convinced me!  I have just bought my ticket. 

 

Hope it works out for both of us, Sim. Perhaps I just struck lucky but it was a performance I remember for the children rather than the ballet. Hopefully those in charge will confiscate mobiles and ban chatter, but from my experience it was so new to the children they were enthralled.

4 hours ago, Sim said:

I just went to order tickets for the matinee on January 18th but it says it's a schools matinee.  So it seems the public can go at the same time.  Has anyone ever been to one of these performances and if so what's it like?  I don't want to have to listen to bored kids talking and giggling throughout the performance!!  I know that's a generalisation, but just would like some opinions as I've never been to a schools/public show before!  It's weird because none of the areas of the House seem to be blocked out for schools...tickets are on sale as per usual.  Some of kind of mistake?

 

I think I posted previously of a schools performance of Jewels I attended at the ROH a while ago. I didn't think Jewels a great ballet for teenagers but they were were entranced. Gasps when the curtain rose and quiet during performance. In the interval it was amusing to see the girls trying to get en pointe in their clumpy school shoes and the boys going up and down the escalators, exploring the building. At the end I thought the ceiling would lift with the cheers and shouting and foot stamping. I'm sure some of them would be back which is what we want. The ROH recently posted a few clips of a school performance and the faces of the children and gasps of amazement just at the auditorium were very moving and I'm sure it will be the same at the Coli. If your only experience of performance is cinema or TV an elaborate auditorium and live orchestra must be amazing. I'm going to that performance too and I'm really looking forward to it, for the children's reaction as well as the ballet.

Well I've booked my tickets to Giselle,  only 2 for now, but might manage another matinee. This was only made possible by the advance casting so many thanks to Aaron and Irmgard.

I'm also really impressed at the amount of matinées and matinee casts. A really good mix of casts and many big names such as Kajda and Frola.  Also pleased that Irmgard said other casts were, 'waiting in the wings' for future performances.  I was worried that a traditional Giselle would be abandoned in favour of the Akram Khan version so really pleased this isn't the case.  Add to this a pensioner ticket discount (something that would be nice for the ROH to adopt), and a very positive experience all round. Well done Aaron and ENB. A great start to his first full programmed season and I hope he is rewarded by good houses and appreciative audiences. 

Have been loving the Ashton triple. Such a wonderful treat. Watched Month in the Country (again!) with my husband tonight and marvelled at the intricate footwork of Anna Rose O'Sullivan in her solo. It seemed absolutely killing but she made it look so easy. I bet all Vera's have a genuine collapse into the armchair after it though the audience didnt seem to applaud which was unusual. The filming seemed good, though I thought they possibly took the camera off Marianela a second before she found the lost keys. The acting and dancing from everyone was just so good; you just became absorbed in the story and didn't want it to end. Terry said after seeing such amazing choreography and storytelling, traditional classical ballets seemed rather dated by comparison and I could see what he meant. The genius of Frederick Ashton!

I'm excited by the casting and how far in advance it is! For me, it's great so I can try to sort out a combination of Giselle and Manon visits before the ROH Friends booking opens. So I'm definitely going to book for the Frola matinee and also the matinee on the 18th Jan as I want to stop over on the 17th after (hopefully) seeing the Manon rehearsal and opening night. I might book more Giselles (would like to see the opening night cast) but am conscious I'm not really saving for the Ashton like I hoped and we've still got SL to book for; not that I anticipate going to many as it's not a ballet I'm really keen on. Might give Winter's Tale a miss for the same reason though it may depend on casting. If Vadim does Leontes....?

 

However, what I really want to know is does the Coliseum or ENB have a refund/credit policy at all? I've had to cancel so many performances/holidays for different reasons recently I get a bit stressed if I'm booking for something where I can't get a refund or credit. That's why the ROH is so good. You can book with confidence knowing if you have to cancel you can get credit and there are always future performances coming up you want to attend. Can't really say that with either the Coliseum or ENB so I'm just curious if anything is in place.

 

Just had another thought. I was thinking of booking the side front row of the upper circle. I generally like an aisle seat if possible. What are the very end seats A 1 and 48 like? can you see the whole stage? I can't see a seat view. I know I could move 4 or 5 seats further in for the same price but am just curious about the end seats. I've sat on the front row before so know all about the restricted leg room. Is there a rail that gets in the way?

I notice now when you click on the streaming link on the ROH website you get a lovely photo of Marianela in Month in the Country. Hopefully not long now though I still think they should have filmed the Morera/Muntagirov Month. Their performances were breathtaking and we'll never get them again.

Thanks Sim. That's good to hear. I love looking out for him. He has great stage presence and I love seeing what he brings to any role he takes on. Would be great seeing him in bigger roles; hopefully later in the season. 

1 minute ago, oncnp said:

 

 

The website says there is. Mine is £6.99/month

 

Thanks oncnp. That's good news.

Just done a quick search on the streaming site and the only 'coming soon' I could find was Scenes de Ballet with Vadim.  Have you definitely seen a reference to the entire triple or are they releasing them singly?

12 hours ago, oncnp said:

Who wanted the Ashton triple?   Listed as "Coming soon"

 

HURRAH! AT LAST!!!!!

Now all I have to do is rejoin the streaming service (but not until it's definitely there). Is there still a discount for Friends or was that just for the launch?

Hurrah for Cheltenham!

Ballet returns to the Everyman 10-11 May. Must try and see it there.

Peterborough 1st June. 

3 hours ago, OnePigeon said:

Which is why I think it’s so very important right now to get the Ashton works taught and recorded properly by the artists who worked with him, before it’s too late.  When they’re gone, it’s gone.  I can’t imagine the Balanchine foundation being so cavalier in their attitude.  Thank goodness for Sarasota, though it does us as a UK audience little good, at least they’re passing on the tradition.

 

 What I've said before, many times, OnePigeon. In a way it is happening slowly as the Ashton Foundation do their Masterclasses which are coached by people who knew his works well well, and filmed and collected them on their website.

 

I've provided the general link to their website.

 

https://www.youtube.com/channel/UC-VFxoZ0k5S4n8bU3LUB6kw/videos?view=0&sort=dd

 

Their rehearsal of Blessed Spirits by Anthony Dowell, performed by Vadim, led to Vadim performing it on the ROH stage, and the Hamlet and Ophelia rehearsal done for the filmed doc. Links in the Chain may have lead to it being performed on the main stage next summer. They also did a rehearsal session on Les Rendezvous which is another ballet featured next summer. So, small steps but every little helps.

 

I do find the report that animals may be being excluded backstage a bit worrying. Something I might ask Kevin about if I see him at the stage door next season. I suppose you could perform Fille without a pony. It would be a loss to the production but still possible. But I don't see how you could perform 2 Pigeons without pigeons unless you created some sort of electronic version. Bizarre and not at all in the spirit of Ashton. Two Pigeons is one of my favourite ballets as well.

On 09/08/2023 at 10:46, bridiem said:

The RB really have no choice about their guesting policy, given how few performances most of the principals get. 

Yes,good point, briediem and one Vadim himself mentioned in an an interview during (I think) one of his many guests with Cape Town Ballet. He said he could get quite a few more shows with them than he gets at the ROH.  However,  if his Instagram account is anything to go by he does seem to be a workaholic, having spent most of his Sumner 'break' guesting with other companies all over the world, so even if he had more ROH shows than he currently gets it still probably wouldn't be enough to stop him guesting. However, I don't know if what he dances abroad really extends him artistically as it seems to be a mix of galas and traditional full length ballets. Also, it's interesting that even though he dances so much he seldom gets injured and I wonder if that is because (as someone previously suggested) he doesn't mix dancing styles by taking on very modern dance works with very different physical demands.

 

However, to return to his dancing rep, it is ironic that the one company with the rep to stretch him technically and artistically and to potentially encourage him to dance more over here is the RB; if they would utilise it. They have a back catalogue second to none if only we could see more of it.  So many Ashton and Macmillan short ballets that are in danger of becoming obsolete under the use them or lose them mantra. Also Balanchine,  Robbins,  de Valois,  most of the Ballet Russes rep and probably many others I've not even heard of as I've never seen them. It's very frustrating. Comes to something when a ballet like Fille which you think is one of the RB signature ballets, hasn't been programmed for over 5 years. Surely they have to programme it for the Ashton Foundation celebrations?  You can't have an Ashton celebration without Fille.  I'm hoping Iain and Margaret Webb from Sarasota will pass on some of their extensive knowledge of the more obscure Ashton rep when they're over here next Sumner. Kevin invited them so perhaps he's not totally in thrall to the modern mantra he seems to favour. 

Yesssss!!!!!! Vadim and Fumi in a major role together at the ROH AT LAST. So pleased Kevin has finally got round to pairing them together. That's 2 performances I'll definitely be attending though I wish Vadim did more matinees. He had one for Cinderella but I couldn't remember a previous one. Also, pleasantly surprised to see Osipova with a matinee as I don't think she does many though I'll probably not attend as I'll see her at the cinema. Perhaps Kevin is getting the message that not everyone can afford an expensive London overnight as well as expensive ROH tickets. I still feel cheated that the matinee reduced prices (apparently aimed especially at those of us who can't get home after an evening performance) were withdrawn without notice, not to mention the packages withdrawn which again seems misguided as it encouraged people to attend multiple performances. But of course the ROH aren't really interested in people attending multiple performances, just new people through the door willing to pay inflated prices for the ROH 'experience', possibly never to be seen again, or at least not very often. Anyway, mustn't get sidetracked by that hobby horse. Might try and combine the Skeaping Giselle with seeing Naghdi/Bracewell Manon Jan 20th 7.30. I can see a Giselle matinee on the Saturday and another Sun 21st though it might depend on ENB casting. I would love to see Frola but can't see him doing a matinee. However, if he's dancing the evening of the 18th Jan I could combine that with Manon rehearsal. So much juggling and so much expense but I'm sure it will be worth it. Just hope Giselle casting is announced before Friends booking Sept 19th. Judging by what Aaron Watkin said hopefully it will be. Must try and see Hamilton/Richardson as don't get much chance to see Melissa in leading roles, though I wish it was a matinee. Like others slightly disappointed Hayward isn't paired with Campbell but Sambe will be interesting and at least we get to see Campbell as Lescault and they get a first night which is great. Hayward is definitely my 'go to' Manon but I'm open to being convinced by others. Slightly disappointed Magri isn't given a chance but she did get Don Q as did O'Sullivan whom I never saw as the Mistress but of course she does get the pas de deux with Lescault. So much for saving up for the Ashton!

42 minutes ago, art_enthusiast said:

 There are technical ways of avoiding this if the website is built properly.

Ah, the website. Everything always ends up coming back to the website, whether it's booking, seating plans or even finding out basic information. Everything seemed easier on the old website with all the links at the bottom of the page for easy access to most enquiries.