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Found 17 results

  1. I’m quite new to opera, so far I’ve seen: Tosca (loved it, made me cry), Don Giovanni (very busy and entertaining), L'elisir d'amore (lovely) and The Magic Flute (nice singing, story slight strange, I’m still not quite sure what was going on). I’m booked for La Traviata (favourite opera so far, but not yet seen live) and Rigoletto. Of the others coming up at ROH what’s a newbie going to like? Macbeth or Nabucco? I guess The Marriage of Figaro is a must see? I’ve got a fairly short attention span so nothing too heavy 😄. And I’ll be booking another Tosca. Angela Gheorghiu is one of the few opera singers I’ve heard of 😁, so I guess there’ll be heavy demand for her performances? I appreciate any guidance.
  2. Just to say, I have only just noticed that there are lots of the better Upper Slips seats for sale for the performance of Traviata, at the relatively unusual (but potentially appealing) time of 12.30pm on Saturday 6 November 2021. I wouldn’t normally comment on a repertoire show many of us will have seen lots of times, but this cast: Oropesa!!! Christian Gerhaher!!!!! Or else this is all yet another mistake by the clunky website and the tickets aren’t really for sale. Which would be a pity.
  3. A bonus in seeing Giselle on Friday was to go to the Macbeth General Rehearsal on Saturday morning. I hadn’t seen Macbeth since Muti conducted back in the early 1980s and I think I saw a later revival of that production. Very impressive musically and for the most part I enjoyed the production. I just wish the designer hadn’t gone quite so overboard with the golds and bling for the Macbeths which (I understand) would have looked way too outlandish on ‘Strictly’. Macbeth is being streamed from 26 November and will be well worth seeing. Dark glasses recommended for the Macbeths’ coronation - unless you’re watching in black and white.
  4. Although we have a separate thread on the recent transmission of the Royal Ballet School's "Peter and the Wolf" , I thought I'd start an overarching thread for all the Royal Opera House's "Our House To Your House" showings. I am, unsurprisingly, loving seeing the Royal Opera/Royal Ballet coproduction of Acis and Galatea again Ed Watson will be making an appearance soon (well, heck, sorry, I've been suffering withdrawal symptoms)
  5. https://www.roh.org.uk/news/celebrate-classic-royal-opera-house-productions-this-autumn--in-cinemas-across-the-globe
  6. I found the Opera programme highly enjoyable. It was rather strange to see the orchestra using the whole stalls area and to see members of the chorus scattered around the theatre. Clever choices of repertoire that didn't require close contact between the soloists, some that is obviously difficult to achieve in ballet. There was a handsome set - I think.it may have been specially designed for the occasion, but someone on this forum may correct me on this. I most enjoyed the finale with Gerald Finley, orchestra and chorus in the Te Deum from Tosca. Amazing how an artist like Finley, can, in just an excerpt and without a full stage, can create such a powerful impression of evil! He had previously sung Iago's Credo - definitely an evening for the baddies! Will watch again, and of course can't wait for the ballet evening
  7. The Spring 2020 edition of ROH magazine announces a gala to support the ROH Covent Garden Foundation on Wednesday 20 May 2020, comprising a programme of opera and ballet on the main stage. There’s the option of dinner with the performers and ROH staff afterwards. Full details will be shared in the Summer 2020 magazine (out in January).
  8. Reactions and thoughts? My must-sees at first glance are Death in Venice, Fidelio (at last, Kaufmann in German at the ROH - and with Davidsen!), Jenufa (for Mattila), and Elektra (Stemme AND Mattila, what a treat) and Netrebko in Tosca with Terfel’s Scarpia. I’m more ambivalent about Don Carlo for casting reasons; and I’m actively cross about the continuing neglect meted out to La Traviata by the casting department. Also: unless I’ve missed something there’s no Calleja or Oropesa again ;(
  9. Original post deleted because the link given below is far more useful than my list of dates alone was.
  10. Do we expect them to publish timings for the long intervals any time soon? It would be pretty useful to be able to make off-site dinner reservations.
  11. Just wondered if anyone else felt the orchestra was overpowering the singing yesterday? It was a great performance, hugely enjoyable, but...
  12. Had to laugh. I came in last night from the opening performance of this new production 'Otello' - a generally fine one, well done by all - to turn on the BBC's Newsnight - only to find the last seconds of a feature on Jonas Kaufmann. I pushed the 'info' button and a list of that evening's guests came up in the BBC listing. They had him down as 'Yonas Kaufman'!! Bet you anything he's used to it ... and, hey, as long as they get it right on the cheque ... or .. erm ... electronic transfer
  13. This just in: The Importance of Being Earnest Free live stream on Saturday 2 April at 7.25pm (BST) If you couldn’t get tickets or want to see it again – the chance is here as we bring you The Importance of Being Earnest live and for free on the Royal Opera House YouTube Channel. After a sell-out run at the Linbury Studio Theatre in 2013, The Royal Opera has taken Ramin Gray’s production of The Importance of Being Earnest to the Barbican and now online. Oscar Wilde’s great comedy is refashioned in a suitably bold and bonkers way by Gerald Barry in this acclaimed operatic version. The plot alone is packed with comic potential. Jack and his friend Algernon are in a pickle: they love Gwendolen and Cecily, but there is confusion over who is called Earnest – a name of which both girls are very fond. The comedy unfurls through a wonderfully idiosyncratic score of virtuoso orchestral colour, giddy with cucumber sandwiches, smashed plates and megaphones. Gray’s production is surprising and inventive as it delights in the opera’s kaleidoscope of music and manners. For the anarchic-at-heart, this is definitely a must-see. So join us online on Saturday 2 April at 7.25pm (BST). The live stream of The Importance of Being Earnest is delivered in association with BBC Arts. The performance will be available to watch shortly after the live stream on the BBC Arts online page and the ROH website for 30 days.
  14. Well, the ROH has been sending me postcards trying to get me to buy a ticket for the new-ish production of Eugene Onegin. It may be my favourite opera, but as I said last time around I don't think I can face sitting through it again, not even with Dimitri Hvorostovsky (didn't he say some years ago he wasn't going to sing Onegin any more?). I gather they have made a few changes since the premiere, but I doubt they'll be enough. So unless I grab a "listening seat" so I don't have to look at the stage this time ... sorry. I don't suppose it's being broadcast on Radio 3 at any stage?
  15. Anyone else at ROH tonight for the General rehearsal of Gluck's Orphee, co-directed by Hofesh Schechter? What do people think of his work on this show?
  16. Well, the RO's new production of Eugene Onegin, operating almost in parallel with the Royal Ballet's Onegin, seems to have been causing some very mixed opinions: http://www.roh.org.uk/news/your-reaction-eugene-onegin I haven't seen it yet, but I gather that quite a few Ballet.coers are going, or have been, to see it, so thoughts would be welcome. If you can't get to Covent Garden, it's also being shown in cinemas around the country (and around the world) on 20th February.
  17. Just wondering whether anyone has the interval timings for the current production of La Bohème? I'd forgotten it was in 3 parts.
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