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  1. Hope this new thread is welcome... though starting with sad news: According to her Facebook account, Polina Semionova will leave Berlin State Ballet after this season - no idea so far where she's going. "Dear friends, I would like to announce that the 2011/12 season will be my last season at the Staatsballett Berlin. Sincerely, Polina"
  2. 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.
  3. Just wondering, how do seats work exactly at the Southbank (have never been before to see a dance production). So, are front stalls very close to the stage? If so, not sure why the pictures for certain seats on the website appear to give quite a distant/far away view?
  4. Hello I hope I didn’t post this in the wrong place. We plan on going to the ROH to see a ballet in November (most probably Sleeping Beauty) for the 1st time. And I need help with choosing the seats left. I am willing to pay more if the seats do actually make a difference. From what I gathered it’s better to be sat in the middle part of the ROH because of the horseshoe shape so the options are: - Amphitheatre Row C62 - C61 - Stalls Circle Row C63-64 (no option in the grand tier) It would be great to have recommendations from people who know the ROH seats. Thanks!
  5. Does anyone know how to access the views that used to be available when booking tickets at ROH?
  6. Am I right in thinking there's nowhere on the ROH website where you can currently check the view from each seat?
  7. Probably not the correct place to post this but I thought more people may see it than under tickets (though I suppose it could be posted in both). I've had an email from London theatres about special offers on some productions and one of them is Anything Goes, back at the Barbican for a 6 week run this summer. The offer seems confined to the 2 week run in July and not in August. I booked a side upper circle for £29.50 and no fees. There was no mention of any discount for these tickets but I noticed the same tickets in August were £36. There are other far more substantial discounts; £59.50 for tickets that cost over £100 but I thought I'd go cheap and hope for the best. I don't know if I've ever been to to Barbican. Are there any rails at all? (I'm rather short). My seat is AA1 in the upper circle. Just remembered to add that casting hasn't been announced yet so you would be 'booking blind' as it were. I'm keeping everything crossed for Sutton Foster again but that's probably not very likely. https://www.londontheatredirect.com/?mc_cid=2e981518e7&mc_eid=e8bad77286
  8. Does anyone know what the view from B73 balcony standing is like please? Thinking of booking for the scenes de ballet triple bill at ROH. Thanks in advance.
  9. Indeed. Just wondering, does anyone know which are the 'good' seats in Sadler's Wells? I know that there are different definitions of the term. For me I like to be as close to the stage as possible, ideally in the stalls or at the side, so not in first or second circle. I notice that there are 2 rows at the front of the stalls in Sadler's Wells that are described as 'restricted/near to the stage' (DD/CC). Does that mean a significant part of the dancer's feet are cut off? Would be grateful for any advice! I have not been to Sadler's Wells very much before so am quite unaware of the different views from each level. Can't find a separate thread about Sadler's Wells seating so hoping I can ask here.
  10. Sorry if this is the wrong thread but anyone else currently getting a technical error for the swan lake page in advance of friends booking opening today? Hope it's fixed very soon...
  11. Moving this out of the "Germany ..." thread so it doesn't get lost among 3 dozen pages: Munich:
  12. Hello to everyone who might have some information or experience on the best (aka most economical) way of buying tickets for the PoB. I am keen to see the Ashton / Bausch / eyal triple in December but have left it a bit late it seems on the ticket front and the only remaining tickets are in the 100 euro plus brackets! Is there a forum like this (or other resource, eg. Friday rush like at the RB) where one can find more reasonably priced tickets? MERCI in advance for any info ❤️
  13. I am just about to buy tickets to the Nutcracker, but can only afford seats at the back of the amphitheatre. I was wondering, brutally, if it is worth it? The only other time I was at the ROH was for an opera, and there were subtitles so location mattered less. Will they put the ballet up on screens for people to see at the back? Will we be able to see anything? Any advice would help. Thanks so much!
  14. Hi All, Not sure where this question sits but I'm sure someone will move it to the more relevant place if needed I'm wondering if anyone can help me with ROH seating. It looks like there are seats for price ranges £66, £45, £30 - this is looking at Sleeping Beauty on the 11th Jan but when I select the price range it doesn't highlight the seats in question. Can anyone tell me where abouts these seats are please? Is this because they are not on sale as yet? Also, out of the lower price categories is there anywhere that would be recommended for seating? Its for an Adult and a 10 year old. I have never set foot in the ROH so really unsure in my research!! Thanks very much ETA another question on the Royal Ballet - will they likely tour any of these productions? We are Manchester based.
  15. I’m thinking of sneaking off to see Giselle on Friday while the kids are at school. I have a choice of standing in the back of the stalls circle near the light box D28, C61 - a loose seat at back of balcony, H72 or H43 amphitheater view obstructed by ledge or L71 mid right amphitheatre. Other than that it would be the slips. I’m wanting to get some cheaper seats this time as I’m saving my pennies to see Marianela in swan lake next spring. This will be the first time I’ve been to the Opera House since childhood so I’m very excited but have no idea if any of the above seats are any good - hoping some kind person will help. The roh don’t seem to have the ‘view from your seat’ pictures like they used to either.
  16. Need help!!!! CALLING ALL THE BALLET / ROYAL OPERA HOUSE LOVERS!!! So I have booked my first EVARRRR nutcracker show at the Royal Opera house, London. SO I AM SUPER EXCITED!!!!!! I am attaching my seating arrangement below: Now I need advice if these are:- 1. Are these good seats? 2. Are we going to sit or stand? As the description sounds like we are gonna be uncomfy. 3. Do you lovely ladies have any pictures of the stage from these seats? 4. Do I need to dress up? 5. If I do need to dress up, then what is the dress code? 6. Send me dress up inspos, pleaseeee!!!!
  17. PRESS RELEASE Wednesday 16 June BIRMINGHAM ROYAL BALLET REVEALS 2021/22 PLANS, INCLUDING CARLOS CURATES: R&J REIMAGINED, SIR KENNETH MACMILLAN’S ROMEO AND JULIET, THE NUTCRACKER, AND MORE CURATED BY CARLOS AT SADLER’S WELLS WILL INCLUDE THE WORLD PREMIERE OF A DUET BY GOYO MONTERO PERFORMED BY CARLOS ACOSTA AND ALESSANDRA FERRI SPRING 2022 HERALDS CARLOS ACOSTA’S BRAND-NEW PRODUCTION OF DON QUIXOTE Following Birmingham Royal Ballet’s return to live performance with the Curated by Carlos season and Cinderella at Birmingham Repertory Theatre and Theatre Royal Plymouth, Acosta again balances the new and the classic in a season that begins with contrasting tellings of, arguably, the greatest love story ever told. For Birmingham Royal Ballet’s homecoming season at Birmingham Hippodrome, Sir Kenneth MacMillan’s passionate Romeo and Juliet choreography and Prokofiev’s glorious score will set hearts alight in this enduringly popular, classic interpretation of Shakespeare’s tragedy. From the balcony scene’s ecstatic pas de deux, exploring love in all its soaring wonder, to the lovers’ heart-breaking ends, Romeo and Juliet is ballet at its most poignant and beautiful. Performances at Plymouth Theatre Royal take place later in October. Carlos Curates: R&J Reimagined sees Romeo and Juliet get a very different treatment with the Company premiere of Romanian choreographer Edward Clug's Radio and Juliet, a reinvention of the classic story set to the music of Radiohead, featuring tracks from Kid A, Amnesiac and OK Computer. This version explores what could have happened if Juliet decided not to take her own life, and is an exhilarating, emotional rollercoaster that has toured the world to widespread acclaim since its premiere in 2005. Radio and Juliet forms a double bill with a new work from Birmingham-based choreographer Rosie Kay, details to be announced. Carlos Acosta said: ‘Shakespeare’s timeless story of love and passion has inspired so many versions over the centuries, not least translated into dance. We’re exploring some of this rich reinterpretation in our double bill Carlos Curates: R&J Reimagined, also in October. I really love Edward Clug’s contemporary reinvention of the story and I’m also thrilled that we are continuing to build relationships with other Birmingham arts companies and that we’ll be joined by Rosie Kay Dance Company who will complete this exciting programme.’ October sees the postponed and adapted London run of Curated by Carlos at Sadler’s Wells. The triple bill now opens with the Company’s love letter to Birmingham: City of a Thousand Trades, a new one-act abstract ballet inspired by and celebrating the richly diverse cultural and industrial heritage of the place it calls home. Commissioned as part of Birmingham Royal Ballet’s Ballet Now programme and produced in association with The REP, City of a Thousand Trades was created by choreographer Miguel Altunaga and co-directed with The REP Associate Director, Madeleine Kludje, with music inspired by the city’s soundscape, including its legacy as the birthplace of Heavy Metal, composed by Mathias Coppens and performed live by the Royal Ballet Sinfonia, with designs by Guilia Scrimieri and lighting by Michael Lee-Woolley. Brazilian/British choreographer Daniela Cardim’s Imminent, also a Ballet Now commission, has been created with a team of international talent, including composer Paul Englishby, designer April Dalton, dramaturg Lou Cope, assistant choreographer Peter Leung and lighting designer Peter Teigen. The new abstract work is inspired by the feeling that the balance we thought we could maintain is precarious to say the least. A tipping-point is approaching. Imminent invites us to recognise that a window of opportunity is now calling upon us. There is hope – and it is important to let go of the past, to take action and move boldly on. Completing the triple bill, Goyo Montero’s Chacona gets reworked for the London stage and features the world premiere of a new duet created for Carlos Acosta and Alessandra Ferri, a mouthwatering prospect to say the least. Having danced Manon together in Havana many years ago, this duet sees two of the all time greats reunited. Ferri said ‘We always wanted to do more together but never had the opportunity. Really I think this is a dream come true for both of us.’ Goyo Montero’s thrillingly physical work Chacona is set to electrifying music by J.S. Bach and performed live on stage by violin, guitar and piano, together with 16 dancers. For spring 2022, Birmingham Royal Ballet’s Director Carlos Acosta promises entertainment for all ages when he brings an explosion of Spanish sunshine, spectacular dance and vivacious comedy to stages across the country. In a new production created especially for Birmingham Royal Ballet, Don Quixote introduces us to Cervantes’ famous knight himself, lovers Kitri and Basilio, and a host of supporting characters. As the Don sets out on a quest to track down his true love, with his loyal friend and servant Sancho Panza at his side, he finds himself embroiled in an unlikely adventure of love and dreams. The first UK performances of Acosta’s sparkling new 21st-century production of this 19th-century masterpiece take place in February. This festive season, Birmingham Royal Ballet will bring The Nutcracker back to two iconic stages. Birmingham Hippodrome welcomes the return of Clara and the Sugar Plum Fairy in November and the Company will celebrate its fourth appearance at the Royal Albert Hall from 28 December. The enchanting Royal Albert Hall production features Simon Callow as the voice of Clara’s mysterious godfather, Drosselmeyer, and video and projection by Tony-Award-winning 59 Productions (An American in Paris, War Horse). Birmingham Royal Ballet’s superb dancers and the Royal Ballet Sinfonia weave their magic with the timeless choreography and glorious Tchaikovsky score to create a quintessential Christmas treat for all the family. Listings ROMEO AND JULIET Music Sergei Prokofiev; Choreography Kenneth MacMillan Birmingham Hippodrome Wednesday 6 - Saturday 9 October On sale 18 June brb.org.uk/romeo Plymouth Theatre Royal Wednesday 27 - Saturday 30 October On sale 30 June brb.org.uk/romeo CARLOS CURATES: R&J REIMAGINED RADIO AND JULIET Birmingham Hippodrome Thursday 14 - Saturday 16 October On sale 18 June brb.org.uk/carloscurates CURATED BY CARLOS CITY OF A THOUSAND TRADES IMMINENT CHACONA Sadler’s Wells 4 - 6 November On sale 6 July (Priority from 28 June) brb.org.uk/curated THE NUTCRACKER Birmingham Hippodrome Saturday 20 November - Saturday 11 December On sale brb.org.uk/nutracker Royal Albert Hall Tuesday 28 - Friday 31 December On sale brb.org.uk/rahnutcracker DON QUIXOTE Music Ludwig Minkus; Choreography Carlos Acosta after Marius Petipa Birmingham Hippodrome Friday 18 - Saturday 26 February On sale 18 June brb.org.uk/quixote Further dates to be announced Notes to Editors: Birmingham Royal Ballet Based at Birmingham Hippodrome, Birmingham Royal Ballet is the United Kingdom’s leading touring ballet company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. The Company’s Director since January 2020 is the internationally renowned Carlos Acosta. Birmingham Royal Ballet standardly performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. On average, the Company performs 175 shows a year nationally and internationally. The Royal Ballet Sinfonia is Birmingham Royal Ballet’s permanent orchestra, it is also Britain's busiest ballet orchestra. The Sinfonia also plays frequently for The Royal Ballet and other leading ballet companies, including performances withParis Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.
  18. My husband has just received an invitation to name a seat in the new LInbury Theatre. He will not be accepting the invitation (the minimum price is £1000!) but the advantage of this mailing is that it came with a seating plan for the new theatre. I found it very interesting and thought it worth scanning so that you could all see it.
  19. Could anyone please tell me if there are any view issues at the Lilian Baylis Studio (apart from those at the very back marked as restricted view)? In particular, do the front row seats afford a good view and can you see the dancers’ feet? For the performance I am hoping to see, many/most seats are booked but the front row is completely free which is making me think those in the know know something I don’t! 😉 TIA
  20. PRESS RELEASE 19 August 2019 BIRMINGHAM ROYAL BALLET AUTUMN SEASON Birmingham Royal Ballet’s autumn season features a fitting balance of classical and contemporary ballet including Giselle and a Mixed Bill including the World Premiere of the latest Ballet Now commission and a partnership with Ballet Black. Autumn 2019 could be described as a ‘bridge season’ during which Birmingham Royal Ballet moves towards the arrival of Carlos Acosta as Director in January 2020. The season is also classic BRB with its balance of classical and contemporary works: a three-date autumn tour of Giselle and a Mixed Bill featuring the latest Ballet Now commission plus a partnership with Ballet Black before a Christmas revival of Sir Peter Wright’s glorious The Nutcracker at Birmingham Hippodrome and the Royal Albert Hall to end the year. Mixed Bill: A Brief Nostalgia; The Suit; Nine Sinatra Songs: 19 September – 30 October The fourth commission from BRB’s ground-breaking Ballet Now initiative is A Brief Nostalgia by rising young choreographer and Queensland Ballet dancer Jack Lister. Featuring a new score by award-winning Scottish (and first-time ballet score) composer Tom Harrold, this world premiere will open the exciting and eclectic mixed bill before Ballet Black – fresh from their staggering performance with Stormzy at Glastonbury - will take to the stage to perform Cathy Marston’s critically acclaimed The Suit, inspired by Can Themba’s South African fable. BRB’s dancers return to close the programme with Twyla Tharp’s Nine Sinatra Songs, a glamorous portrait of seven couples that traces the arc of romantic relationships. Nine Sinatra Songs is one of Tharp’s most frequently performed works and has become an international, crowd-pleasing favourite. Giselle: 25 September – 2 November David Bintley’s BRB legacy takes immediate effect with a UK tour of his, and Galina Samsova’s, production of Giselle this autumn. First staged 20 years ago in 1999, and featuring Adolphe Adam’s original score performed by the Royal Ballet Sinfonia, BRB Principals Momoko Hirata and César Morales will star on the opening night as the eponymous heroine and her anti-hero Count Albrecht. The revival of this exquisite and heart-wrenching staging opens at Birmingham Hippodrome before travelling to Plymouth ahead of a two-date London run at Sadler’s Wells. Full casting to be announced. Cassa Pancho MBE, Founder and Artistic Director of Ballet Black, said: "I'm thrilled that Ballet Black will be joining Birmingham Royal Ballet for their exciting mixed programme in autumn 2019. It's a wonderful opportunity to collaborate with one of the most established British ballet companies, and for our own brilliant dancers to work alongside the world-class talent at BRB." The end of the year also sees the now annual revival of Sir Peter Wright’s acclaimed production of The Nutcracker which returns to Birmingham Hippodrome for the festive season (22 November – 14 December), transporting the audience beyond the theatre to a realm of giant Christmas trees and dancing snowflakes. The magic continues at the Royal Albert Hall for a third year with Birmingham Royal Ballet’s spectacular reimagined version of The Nutcracker (28 - 31 December), complete with projections from 59 Productions and Simon Callow as the voice of Drosselmeyer. Further Autumn Announcements September will also see the announcement of the programme for Carlos Acosta’s summer festival which will take place at Birmingham Hippodrome and Sadler’s Wells in June to end the 19/20 season. Carlos’s first (20/21) season for Birmingham Royal Ballet will be announced in February 2020. Press images for Birmingham Royal Ballet’s 2019/20 autumn season are available to download here. For further information please contact laurenmorton@brb.org.uk. Listings Information Mixed Programme A Brief Nostalgia | The Suit | Nine Sinatra Songs September – October 2019 A Brief Nostalgia Choreography: Jack Lister Music: Tom Harrold Designs: Thomas Mika Lighting: Alexander Berlarge The Suit Choreography: Cathy Marston Music: Philip Feeney Designs: Jane Heather Lighting: David Plater Dramaturgy: Edward Kemp Nine Sinatra Songs Choreography: Twyla Tharp © 1992 Songs sung by: Frank Sinatra Scenic Design originally by: Santo Loquasto Original costumes by: Oscar de la Renta Lighting originally by: Jennifer Tipton Birmingham Hippodrome Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000 birminghamhippodrome.com Thursday 19 – Saturday 21 September Sadler’s Wells, London Rosebery Avenue, London, EC1R 4TN; 020 7863 8000 sadlerswells.com Tuesday 29 – Wednesday 30 October Giselle September – November 2019 Choreography: Marius Petipa, Jean Coralli, Jules Perrot, David Bintley Music: Adolphe Adam Production: David Bintley, Galina Samsova Designs: Hayden Griffin Lighting: Mark Jonathan Birmingham Hippodrome Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000 birminghamhippodrome.com Wednesday 25 – Saturday 28 September Plymouth Theatre Royal Royal Parade, Plymouth, PL1 2TR; 01752 267222 theatreroyal.com Wednesday 23 – Friday 25 October Sadler’s Wells, London Rosebery Avenue, London, EC1R 4TN; 020 7863 8000 sadlerswells.com Friday 1– Saturday 2 November Sir Peter Wright’s The Nutcracker November – December 2019 Choreography: Peter Wright, Lev Ivanov, Vincent Redmon Music: Pyotr Ilyich Tchaikovsky Production: Peter Wright Designs: John F. MacFarlane Lighting: David A. Finn Birmingham Hippodrome Hurst St, Southside, Birmingham, B5 4TB; 0844 338 5000 birminghamhippodrome.com Friday 22 November – Saturday 14 December On sale now Birmingham Royal Ballet and the Royal Albert Hall present The Nutcracker December 2019 Choreography: Peter Wright, Lev Ivanov, Vincent Redmon Additional choreography: David Bintley, Marion Tait Music: Pyotr Ilyich Tchaikovsky Designs: Dick Bird Lighting: Peter Teigen Projections Design: 59 Productions Sound Design: Bobby Aitken Royal Albert Hall Kensington Gore, London, SW7 2AP; 020 7589 8212 royalalberthall.com Saturday 28 – Tuesday 31 December NOTES TO EDITORS: Birmingham Royal Ballet Based at Birmingham Hippodrome since 1990, Birmingham Royal Ballet is the United Kingdom’s leading classical ballet touring company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. Internationally renowned dancer and choreographer Carlos Acosta CBE has been appointed as the company’s new Director. He will take up his appointment in January 2020. Music Director is Koen Kessels. Birmingham Royal Ballet performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. The Royal Ballet Sinfonia is Britain's busiest ballet orchestra, playing for Birmingham Royal Ballet's wide-ranging programme in the UK and abroad. The Sinfonia also plays frequently for The Royal Ballet and many of the world's other leading ballet companies, including regular performances with; The Royal Ballet, Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.
  21. Sorry if this has been posted elsewhere- mods please remove this if need be - but I have just noticed my ROH account page now includes links to the coloured seat maps, with prices, that used to be published, and then went missing. They are there for the Autumn, Winter and Spring Seasons. I have downloaded them to my PC but the files are too large to upload here, so hopefully these links will work... https://static.roh.org.uk/seatmaps/2019-20/ROH1920-BP1-Seating+Plans.pdf?_ga=2.90681050.1528449642.1570985255-1611466181.1570985255 https://static.roh.org.uk/seatmaps/2019-20/ROH1920-BP2-Seating-Plans.pdf?_ga=2.266784590.1528449642.1570985255-1611466181.1570985255 https://static.roh.org.uk/seatmaps/2019-20/ROH1920-BP3-Seating-Plans.pdf?_ga=2.266784590.1528449642.1570985255-1611466181.1570985255
  22. Hi all, Looking on the Mariinsky Theatre website and it doesn’t seem to show the view from the seats like the ROH website does.... Can anyone who has been to the Mariinsky please recommend which seats have a good view of the stage? Thanks!
  23. Hi hope I've put this in the right place and that it doesn't get overlooked! I'm thinking about starting going to more opera at ROH. However the prices are a lot more than ballet which really restricts me to pretty much the lower/upper slips, as well as SCS tickets (if I can get them!). I have never sat in the lower/upper slips and would be happy to give them a go for opera (and really don't have much choice otherwise...) as unlike ballet I feel you don't need to be centre facing. However my one concern with all the cheap places (slips/SCS, side stalls circle) is can you still see the 'subtitles'. I would find it impossible to follow along without these (I mean I'd get the general gist I'm sure but I don't know opera or italian/french/german well enough to understand what they're saying). In short - is there adequate provision to see 'subtitles' while sitting/standing in the upper/lower slips and stalls circle (standing and at the extreme sides)? Thanks!
  24. Hi all, Excitingly I'm off to New York in May, and needless to say will be taking out a second mortgage on my legs to see NYCB perform while I'm in town. Only problem is, I want to see three performances. While I'm sorting out the whole not-having-won-the-National-Lottery-yet issue with Camelot I can't really plump for top seats for all three, so does anyone have any suggestions for a decent balance of good seats at the David H. Koch Theater that don't cost the earth? I'd also welcome tips for fun things to do while in NYC! Oh, and if we have any members on the forum in NY who fancy meeting up and saying hello, I'll be flying solo and am always up for meeting fellow balletomane forumites. Thanks!
  25. Prompted finally to ask this question by a discussion in the Romeo & Juliet thread: I've wondered for years to what extent where we sit affects how we perceive a performance/work, and whether this is a contributory factor in why there can be so many differing views of a performance. I suspect this is likely to be truer at the Royal Opera House than probably anywhere else, given how varied the seating and views are, but it also must apply to those who sit in the front rows compared with those up in the gods. I'm sure there's a good reason why the main dance critics tend to get given the same seat for the performances they're reviewing at the ROH! Starters for ten from me: 1) Several McGregor ballets which I've always said look better from on high than stalls circle level 2) A Leanne Benjamin/Edward Watson The Dream which I really enthused about (and hold up against all other performances of the work) - but I was sitting in a (bargain-priced) seat in the stalls at the time. That certainly helped me pick up all the fine detail - but did there happen to be more of it/was it better at that performance, or was it just that I could perceive it better because I was much closer?
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