bangorballetboy

1 hour ago, Sophoife said:

Anyone who is at Laura Morera's final show, please throw in a Brava! for me!

 

I ordered my bouquet today - I imagine there will be quite a few!

Untitled, 2023 uses two pieces by Anna Thorvaldsdottir, CATAMORPHOSIS and METACOSMOS.  The former is 20 minutes long and the latter is 15, so that suggests to me that the new work is around 35 minutes long.

10 hours ago, Ondine said:

 

Nobody has even seen it yet!  Nor heard a note...

 

I'm afraid you are mistaken.  The music is two pieces by Anna Thorvaldsdottir, CATAMORPHOSIS and METACOSMOS and you can listen to the latter and an extract from the former on her website.  METACOSMOS was the first piece on the programme of Prom 6 in 2019 and I was in the Arena to hear it (a very enjoyable concert BTW, with the Britten Violin Concerto and The Rite of Spring).

10 hours ago, Ondine said:

some people should try to get out into the wider world more.

 

🤣🤣🤣🤣

18 minutes ago, zxDaveM said:

 

this flashes visions of Olivia Newton John telling John Travolta that he'd better shape up, whilst poured into those leather trousers...

my thoughts exactly!

12 hours ago, Emeralds said:

I think the actual dances/choreography will be more important than what it’s called, but the dances/choreography haven’t been premiered yet, so fretting over a title is probably not worth it.

 

I remember Chroma and Woolf Works being just as unfathomable (to me anyway) before their premieres and Chroma turned out to be electric (still is) and WW poignant and beautiful (still is). Certainly lots of dance companies agree re: Chroma-it’s been staged by many companies in various countries on different continents. (Yet the title still doesn’t seem to give much information about the ballet to someone who doesn’t know it!)

 

Am more concerned about this pessimism.....does this mean nobody is going to Laura Morera’s farewell? Or is this just a bit of a chit chat? Website still showing a lot of unsold tickets. (I’ve bought mine). 

 

 

Well, I'm going with an open mind about the new piece and am booked for three shows (including the first and last nights); I was booked for four but something else came up that means I'll now be in a different part of the ROH that evening!

20 minutes ago, Ondine said:

 

 

Well that's nice.  

 

 

It is nice.  It's also a response to your posts that come across as extremely patronising.

30 minutes ago, Ondine said:

 

The composer. It's possibly a good idea to put a little work in to fully appreciate the new work?

 

 

I am quite aware of the composer's output, having heard quite a bit of it already in various concerts.  

#SomeCallItArt

7 minutes ago, bridiem said:

(What does Scènes de Ballet mean?! Who knows. But I'm glad it has an evocative title. Ditto Symphonic Variations. And as with Balanchine, the name of the music can be sufficient. But of course for McGregor the music or score doesn't often seem to be the driver... Ho hum.)

 

Just to be clear (in case of confusion), the two Ashton works named share their titles with the music used.

I often go into seeing McGregor pieces for the first time with a lot of optimism (which is sometimes, but not always, dashed).  Not so sure this time.  I really think it's time for the RB to move on from McGregor as a "regular" choreographer.

27 minutes ago, Ondine said:

 

Ben Ella is also choreographing I believe, which is good.

 

 

24 minutes ago, oncnp said:

In (at least) "The Artists" gala in Japan in August

 

Program | The Artists - The brilliance of ballet - < official website>

And also a new work for Northern Ballet to be premiered in the ROH Linbury Theatre next season!

It's not just the choreography of ballets that is subject to copyright!

15 minutes ago, SheilaC said:

I hope Romany will start dancing again soon with the Royal. But I'm wondering if she has been spending time with Dane Hurst. They were engaged but I've just watched a video of him on the Phoenix website and he was wearing a very thick wedding ring!

 

Either way, I expect she'll be in Leeds on Friday for the premiere of 2 works by Dane, one for Phoenix (Requiem to Mozart's choral masterpiece, with the chorus of Opera North and its orchestra) and After Tears: After a Requiem, to music by South African composer Neo Muyanga for Jazzart Dance Theatre and Cape Town Opera. Dane is now director of Jazzart Theatre. The programme is inspired by the grief and loss experienced during Covid.

Ms Pajdak's private life is just that, private; let's leave this discussion here and stick to promotions.

I'm going tomorrow (as is The Duke of Edinburgh, apparently)

1 hour ago, Emeralds said:

Thanks for checking, JohnS! I reckon it is still possible to have 40% under £50 tickets for just Main Stage, non-schools matinees, non-Paul Hamlyn type special performances if they add up all the premieres, contemporary works, standing tickets.

 

 

I've just had a look at Aida and Wozzeck as they are on at the moment.  By my rough calculations, 41% of the tickets for Wozzeck (top price £160), and 36% for Aida (top price £230), are under £50.

1 hour ago, Emeralds said:

Thanks for checking, JohnS! I reckon it is still possible to have 40% under £50 tickets for just Main Stage, non-schools matinees, non-Paul Hamlyn type special performances if they add up all the premieres, contemporary works, standing tickets. But actually under £50 is not really a bargain when many venues eg RFH or Wigmore Hall has most of their seats (not tickets!) under £50! Over 70% of RFH are, and most performances in WH have £50 as  the top price. Maybe they mean it’s a good bargain compared to watching Coldplay or Beyoncé, or Champions League Final 😉 .

 

If you think about it, even £49, while technically below £50, when one buys two such tickets for a couple or for going with a friend/companion as many people tend to for meals/sport/leisure activity, £98 is just £2 shy of three digits, which isn’t affordable for a lot of people, especially in this current economic climate. 

 

 

Just to add also that ROH is quite “unique” among both U.K. and international venues that it has an awful lot of restricted view seats half blocked by rails, pillars and lamps that are over the £80 or even £100 mark. The theatre gets lots of complaints from first time buyers appalled that they paid over £90 or £100 for a seat where they couldn’t see half the stage. (I know where those seats are, and they never used to cost that much relative to all the other seats.)

 

I should add though, that if anyone has this restricted view problem with their seat and tells the head usher/front of house manager at the first opportunity, the staff are now really helpful at sorting out a seat with a better view. They can’t give you a Grand Tier seat if you only paid for upper slips, but they can find a similar priced seat where the view isn’t as bad. Perhaps they should just get rid of the bad restricted view seats or not offer them till the house is fully sold out, as many patrons actually don’t dare to complain or ask for help- they just don’t return at all, and spend their money somewhere else. So do ask for help.

 

I don’t think the quirky price rises in some of the middle priced or lower priced seats with issues (especially when they haven’t gone up for opera) are an accident. I think the management and finance staff, when trying to work out where to increase prices, have used an algorithm or software to analyse which seats always sell, and which sell the quickest. They’ve discovered that some cheaper seats that are uncomfortable/have limited sight lines (but not blocked by a giant object) seem to sell the quickest and the most reliably, so they have decided, “Aha! It must be a hot ticket or something!” and raised the prices of those stratospherically. It’s a bit like observing how the vegetables or bread that expire tomorrow are discounted 50% off at the supermarket so they sell the moment they go on the shelf, and concluding  you should triple their price because everyone is buying them, and ignoring the fact that they are popular because of the 50% off! Of course nobody will touch them at triple the price. I agree they should return to consistent pricing. (And if the prices quoted for Anemoi and Dante are what they are going to charge, I’m afraid there will be tons of empty seats.) 

 

For next season, it’s really essential to check the view and the picture of what the seat looks like before buying!  

 

 

Perhaps they should just knock down the building and rebuild it.

50 minutes ago, OnePigeon said:

Same here.  I’m sure it falls under age discrimination but I haven’t got the money to test it out in court, especially when I’m paying so much more for my rubbish tickets. There are so many fairer ways of offering discounts to people on lower incomes, as many other arts institutions demonstrate.

It's not age discrimination.  Quoting from the Citizens' Advice Bureau website: "Businesses are allowed to offer concessions or discounts based on age - for example, cheaper access to leisure facilities for 18-25 year olds, or pensioner lunch deals."

Similarly, receipt of free bus passes and winter fuel allowance on the basis of one's age is not age discrimination either!

This ticket has been returned to the box office.

I have SCS D26 available for tonight's performance of Sleeping Beauty.  Face value is £12, please PM if interested.

Just now, LinMM said:

Whilst singing the National Anthem!

1 hour ago, LinMM said:

Oh dear now I’ve another gripe! 
After the lovely LBC trip on Wednesday to see RBS upper school students in class and rehearsal have decided perhaps I should book Holland Park just in case don’t get to main stage show. 
But when I go into booking it appears you have to be a member to book 🤔

But at this time in the year I don’t want to pay £75 ( it runs from Sept to Sept) 

So 1) does anybody know when you can book if not a member?

2) Is it a good sight line to sit in rows A-C as was wondering about the rake there. It’s at least 22 years since been to Holland Park roughly coinciding with when moved to Brighton!!! 
Many thanks if anyone can answer these questions. 

Public booking is open on the OHP website.  I've just gone through the whole booking process (up to payment) without being signed in and it was fine.

There is no rake in rows A-C (those rows are on the ground level).  The stage is elevated and I doubt the RBS will be using the apron that goes round the orchestra. 

26 minutes ago, Lizbie1 said:

 

I think we sometimes short-change Ashton himself on this forum by unintentionally suggesting that some of his works are only effective when given truly idiomatic performances. Obviously we'd all like that to to be the norm and it's preferable for his original intentions and nuance to be brought out, but Ashton found something interesting in dancers with a wide variety of backgrounds, and in turn I've seen dancers of various backgrounds delight audiences in Ashton.

Exactly.  I wouldn't have said that Osipova's recent Cinderella performances were overly "Ashtonian" but they were incredibly entertaining nonetheless.