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I don't see how that is in any way equivalent. It was a privately organized event (hence not being publicly advertised other than on social media) with a maximum ticket price of £25.

 

When tickets were released for general sale, at least a third of the stalls, most of the Stalls Circle, all of the Grand Tier boxes, and the whole of the Balcony were available - several hundred tickets in total, plus Stalls Circle and Balcony Standing which were released later.  (The remainder of the stalls/stalls circle/grand tier were held for invited guests and company members, not for donors paying a premium price for them).  This does not correlate AT ALL with Sim's suggestion of an event that ordinary fans cannot afford to attend; indeed quite the opposite (the Royal Opera decided as it was an event organized by his friends and fans, that publicizing it was not Royal Opera business, instead agreeing to step aside and let Hvorostovsky's social media channels do so).  The only reason the Amphitheatre was closed was due to constraints of Open Up at short notice; had the event organisers insisted on having the Amphitheatre available they would not have been able to get the venue that night at all.

 

Were the Royal Ballet (as in, the company, officially) to organize an event to commemorate Margot Fonteyn it would surely be more likely to have the usual split of ticket prices, or even be done as a gala, with highly-priced seats for donors in the best areas.

Edited by RuthE
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I would hope so, Ruth, but I know from past experience that these special events and galas often hike up the ticket prices, even in the 'normal' areas,  thus putting them out of reach of many people.  

 

But we are getting ahead of ourselves.....we have no indication of a Fonteyn special event.

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Sim, I was mainly defending the Hvorostovsky tribute concert from accusations of exclusivity, when (other than the reduced number of tickets available because the Amphitheatre was out of commission, which I suppose made it more "exclusive" than usual) in fact it was both extremely affordable and deliberately only marketed directly at fans.

Edited by RuthE
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1 hour ago, RuthE said:

I don't see how that is in any way equivalent. It was a privately organized event (hence not being publicly advertised other than on social media) with a maximum ticket price of £25.

 

When tickets were released for general sale, at least a third of the stalls, most of the Stalls Circle, all of the Grand Tier boxes, and the whole of the Balcony were available - several hundred tickets in total, plus Stalls Circle and Balcony Standing which were released later.  (The remainder of the stalls/stalls circle/grand tier were held for invited guests and company members, not for donors paying a premium price for them).  This does not correlate AT ALL with Sim's suggestion of an event that ordinary fans cannot afford to attend; indeed quite the opposite (the Royal Opera decided as it was an event organized by his friends and fans, that publicizing it was not Royal Opera business, instead agreeing to step aside and let Hvorostovsky's social media channels do so).  The only reason the Amphitheatre was closed was due to constraints of Open Up at short notice; had the event organisers insisted on having the Amphitheatre available they would not have been able to get the venue that night at all.

 

Were the Royal Ballet (as in, the company, officially) to organize an event to commemorate Margot Fonteyn it would surely be more likely to have the usual split of ticket prices, or even be done as a gala, with highly-priced seats for donors in the best areas.

 

Thank you for this clarification, RuthE.  I had not realised that it was in fact a 'privately organised' event as you suggested.  That takes it completely out of an equation of any relevant jurisdiction in this specific regard.  As I said I found the event very tastefully handled and deeply moving.  The £25 maximum is, as you suggest, extremely generous - especially when you consider that my own Balcony Standing place was £10.  Bravo to this independent entity for making this possible.  

Edited by Bruce Wall
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A statement on the ROH website about pricing and seating plan. By dynamic does this means seat prices will change depending on demand or lack of?

 

 "A new dynamic price mapping tool is coming very soon. This will enable all customers to see pricing across the auditorium through a clear and easy to use online platform. We want to ensure that you have the best possible experience so are just making final checks before going live. We apologize for this temporary inconvenience and will ensure that all customers have access to seat price information well in advance of tickets going on sale."

 

Apologies if this has already been mentioned before, I didn't want to trawl through all the posts.

Edited by alison
Added highlighting in the hope of making this easier to spot
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8 hours ago, Pulcinella said:

A statement on the ROH website about pricing and seating plan. By dynamic does this means seat prices will change depending on demand or lack of?

I don't think so; I think they  mean the price mapping tool  is "dynamic"  -  not the seat price itself -  I gather we will be able to see all the different seat prices for different productions , before booking opens, online, rather than displayed  on the static seating plans used up to now.

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9 hours ago, Pulcinella said:

 By dynamic does this means seat prices will change depending on demand or lack of?

That is what dynamic pricing means (it is used by some venues). But I think in this instance, as other posters have said, they mean the plan itself. 

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There's a little nugget in the Friends magazine about "Live at Lunch" - pop up performances on Fri, Sun and Mon from 1-2pm, which will feature the Jette Parker Young Artists, the orchestra, the chorus, the RB, and visiting artists (not all at the same time one presumes). These will take place in the Crush Rooom, Paul Hamlyn Hall or Linbury foyer.  In the last two the performances will be free. Crush room performances are ticketed, prices to be revealed this summer. 

 

 

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2 hours ago, Lynette H said:

There's a little nugget in the Friends magazine about "Live at Lunch" - pop up performances on Fri, Sun and Mon from 1-2pm, which will feature the Jette Parker Young Artists, the orchestra, the chorus, the RB, and visiting artists (not all at the same time one presumes). These will take place in the Crush Rooom, Paul Hamlyn Hall or Linbury foyer.  In the last two the performances will be free. Crush room performances are ticketed, prices to be revealed this summer. 

 

 

 

Sounds wonderfully 'dynamic' to me :)

 

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2 hours ago, Lynette H said:

There's a little nugget in the Friends magazine about "Live at Lunch" - pop up performances on Fri, Sun and Mon from 1-2pm, which will feature the Jette Parker Young Artists, the orchestra, the chorus, the RB, and visiting artists (not all at the same time one presumes). These will take place in the Crush Rooom, Paul Hamlyn Hall or Linbury foyer.  In the last two the performances will be free. Crush room performances are ticketed, prices to be revealed this summer. 

 

 

 

That reminds me, I saw a recent reference to a performance by the Jette Parker Young Artists taking place this month, but am not sure whether it's already taken place or not!

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BBB, I've just been in to book a ticket for Lessons in Love and Violence.  The individual booking pages for each performance seem to have gone, in favour of frames embedded within the overall page listing all performances.  So it's no longer possible to bookmark an individual performance and jump on a return the moment it comes in (or ninja one's way into Friday Rush) without having to go through a several-click process.

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Oh, actually - yes you can still bookmark the seating plan/ticket selection page.  The thing that's become an embedded frame is the intermediate step.  In either case it means an extra click where the red button used to take you straight from a list of all a show's performances into the seating plan.

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yes, the 'lead' page doesn't show if a performance is sold out, you have to cick through to the next level, before it shows that. And then when there are tickets, you click again, and end up back at the old booking layout. Seems like newness for the sake of it, and hasn't improved anything at all in my view

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As, I assume, have the ghastly booking pages for everything else.  I feel as though I'm having a large-print book shoved in front of my face, and you can see so little in one (computer) screenful that it makes getting an overview very difficult.

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1 hour ago, Jan McNulty said:

Graham Watts is reporting some interesting breaking news on Facebook today:

 

https://www.facebook.com/photo.php?fbid=10156082057135943&set=a.10150349647540943.394339.549005942&type=3&theater

 

Janet, it appears the content of this link has now been taken down/removed.  Can you give us an idea as to perhaps why having read it and feeling it was of significant interest to be shared with BcoF readers.  Much thanks.  

Edited by Bruce Wall
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I can still see it (but sometimes FB links can behave strangely).

 

Graham Watts has reported the following (and including the photograph):

 

 

"Breaking News: Michael Flatley appointed Guest Principal Artist at The Royal Ballet and scheduled to appear as The High Brahmin in four performances of La Bayadere"

 

 

29790168_10156082057135943_8109151937994757512_n.jpg

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