MargaretN7

I showed Kevin O'Hare my programme of the first time I saw Coppelia (also my first visit to ROH), 22nd January 1955. He almost drooled over the cast listing, not only for who but also because it listed everyone, and I mean everyone. He said he wishes they could do that now, especially the dolls, but it would most likely necessitate too many cast change announcements.

14 hours ago, Sebastian said:

 

This website is indeed a marvellous compendium of secondary sources and some lovely visual material (including much which is hard for the casual reader to find). However one can’t rely on it, as I discovered when doing some research around the history of the Sleeping Beauty. To give one example, the site asserts - as if established fact - that

 

>>The purpose of the Fairy Violente pointing her fingers during her variation in the Grand Pas de six of the Prologue is that she is zapping electricity, which was new in 1890.

 

I very much hope this is true, as it is a most entertaining idea and the Prologue Fairies are somewhat mysterious. However nowhere does there seem to be a 19th century source for this observation, in any language, although it pops up, unsourced, in some speculative writing after the Second World War. More than happy to be corrected by those who know more but I can’t find where this comes from. 

I read somewhere, forgotten where, that this electrical variation is celebrating the theatre where it was performed being newly lit by electricity.

(Michael Faraday had demonstrated the electric motor and generator in the 1820's, and before that there was static electricity)

1 hour ago, annamk said:

An unexpected (given their scheduling)  pleasure to have O'Sullivan/Hay dance the General Rehearsal today    

 

I didn't catch all the cast changes, can anyone confirm who danced the Fairy of the Crystal Fountain ? 

Lara Turk

On 21/09/2019 at 14:12, JNC said:

For those in London, Curzon Mayfair seem to have tickets available on the 16th at 6.15pm (not sure if they part of the original cinema list).

 

Curiously they are also showing a 6.15AM screening on the 16th, which may be a mistake...anyway I made sure to click the 6.15 PM one! 

I originally booked online for the Curzon Mayfair which was using their small theatre. Then received an email with seat re-allocated as, they said, due to high demand, surprise surprise, they were transfering  the screening to their larger theatre. Hence more tickets becoming available.

For those elsewhere it might be worthwhile to check other Curzons.

There are sometimes 20 minute intervals, however longer ones, so I've been led to believe, can be necessary for performers and/or stage crew.

www.roh.org.uk/packages

Also, at the foot of each production's list of performances there is (at the moment anyway) a variety of links including the package one. 

Design your own package, giving a small reduction, is minimum of 2 performances.

Sell ticket this weekend for £20, else return to box office on Monday. 

Selling, Royal Ballet School at ROH, Sunday 14th July 1.30pm
Amphitheatre B41, £24

PM me if interested

Margaret

The box office HAS moved. It's now in the corner of the café (described as Main Foyer on the notice), along the wall with the Open Up display.

39 minutes ago, MargaretN7 said:

After attending this triple yesterday afternoon I went south of the river to the Bankside Gallery (next door to Tate Modern, home of the Water Colour Society, and currently hosting an exhibition by the Society of Graphic Artists). I was met by a different Natalia Osipova, this pastel on paper portrait by Svetlana Cameron. (Checked ok with the gallery to photo and post this.)

 

 

And correction. It's  Society of Graphic Fine Art

After attending this triple yesterday afternoon I went south of the river to the Bankside Gallery (next door to Tate Modern, home of the Water Colour Society, and currently hosting an exhibition by the Society of Graphic Artists). I was met by a different Natalia Osipova, this pastel on paper portrait by Svetlana Cameron. (Checked ok with the gallery to photo and post this.)

Marcelino Sambe has put on instagram that Fumi Kaneko is debuting as Medusa tomorrow, Saturday, with him as Perseus.

Glad the power shortage in the area only applied briefly to ROH (did emergency generators kick in to save the show?). It was a brilliant performance all round, plenty of power generated on stage. 

I check every day's links section, many thanks for them, tho sometimes a day late, to get an overall idea of what's being covered, and follow up some. If it's a restricted view one that looks interesting, eg in th Times, I may make a note to check the paper in the library.

4 hours ago, Saodan said:

Can anybody hazard a guess as to why Two Matadors are no longer listed on the cast sheet? It's seems odd that this should change in the middle of a run.

Perhaps someone realised it was odd to name the two matadors in Act 1 when it is a different two in Act 3?

I managed to find the 'email us' link to send a few choice comments. First one was "Who the .... tested this?". Included a challenge to book 30 (it could be more of course) rehearsals/performances/events in the 30 minutes alloted time for booking.

I think I heard Leanne Benjamin say, at the RB in Rehearsal on Tuesday, that Ed Watson was working with her coaching Romeo and Juliet. Can anyone else who was there confirm that?

12 hours ago, Coated said:

Can't wait for the Bolshoi. Forgot how much I dislike this busybee, crammed, frilly and overstuffed production.

Then you should have come to the Harrow Vue cinema which tried to persuade us to watch the Bolshoi version!

From 7.15, when the live relay from the Royal Opera House should have started, we were "treated" to being shown people wandering about in a Bolshoi Theatre anteroom (I assume that is what it was), then a woman speaking in Russian, French, and English from the stage with Boshoi dancers preparing behind her. I wasn't the only one who dashed out to tell management they'd got the wrong one.

They eventually managed to switch to the Royal Ballet one just in time to see Don Q, followed by Sancho Panza, exiting his room. As I have seen the ballet a number of times I knew what we had missed in the prologue, although there were a good number in the cinema who hadn't seen it before. I particularly regretted not seeing the intro when I discovered at the interval that Kristen was presenting. Hope it gets put on the ROH website. Well, at least I got my money back so had a free evening.

What is this "system upgrade" banner that has appeared across the top of my balletcoforum page?

I do not click on such things without knowing about them.

If there's been info on this, my apologies, I haven't noticed it.

Info and advice,, please

Margaret

For the opening night of New Works I had circle A44, could see about 2/3 of the stage.

I was told the right hand end two seats of circle central row B were empty in first half, so went and stood next to them towards end of interval.

When Alex Beard and guests returned to take their places in that row he asked me "Are you sitting here?" to which I replied I hoped to be as where I had been sitting I couldn't see. He replied that certainly I may sit there, then. Might this be a case of my action speaking louder than words?

Is it Windows7 or 10 that makes a difference?

Are you sorted, Rob, or not? PM me.

Margaret

I can't use my ticket for the Royal Opera Cosi fan tutti, 7pm on 9th March, central balcony standing, D33, £12

Please PM me if interested.

Margaret

I can't use my ticket for the Royal Opera Cosi fan tutti, 7pm on 9th March, central balcony standing, D33, £12

Please PM me if interested.

Margaret