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4 minutes ago, Petunia said:

This Times article has some pretty nasty reader comments.

 

So do most articles anywhere! People seem to take their bile out in these usually anonymous comments sections.

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I do feel that 3 male contemporary choreographers monopolise the ROH stage (while new women choreographers tend to get the Linbury, if anything.) Some of this mainstream work is found to be- by lots of posters on this forum, not just me - not all that great. Some of it, I feel,  is quite cliched.  So I would like to see some different choreographers given much more main stage time, and I would like more of them to be women. I would hope this could happen, without quotas etc, which don't usually work in my view.

But why it doesn't happen- why we get repeat viewings of not very good pieces like the recent case of Age of Anxiety,-but others spring to mind- instead of a new work, I don't know: I suppose it's mainly financial..but not entirely.

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I would have thought that it was perfectly reasonable for Kevin O'Hare to sign up with MacGregor, Wheeldon and, then, Scarlett for a few years but not for eternity and not with too many guarantees of new commissions or repeat showings. The Royal Ballet now feels a bit boxed in by its obligations to these three choreographers and widening its net (more) would be no bad thing - in fact, judging by the Pite, a very good thing.

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14 minutes ago, capybara said:

I would have thought that it was perfectly reasonable for Kevin O'Hare to sign up with MacGregor, Wheeldon and, then, Scarlett for a few years but not for eternity and not with too many guarantees of new commissions or repeat showings. The Royal Ballet now feels a bit boxed in by its obligations to these three choreographers and widening its net (more) would be no bad thing - in fact, judging by the Pite, a very good thing.

 

I think that's very true, capybara. Given that there are never going to be that many new (and revivals of new) works in a season, having 3 people who are all given some sort of priority is far too much. And I personally don't think that any of them really justify the status by the works, much as I've enjoyed some of the works by all of them.

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McGregor has now been Choreographer in Residence for 13 years...maybe time for a change?  It doesn't mean he still can't choreograph for the RB, but maybe not so frequently.   

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This may have been answered somewhere else, if so, apologies.  But has anyone asked Kevin O'Hare specifically about why there is nothing to mark Fonteyn's centenary?  

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43 minutes ago, Mary said:

I do feel that 3 male contemporary choreographers monopolise the ROH stage (while new women choreographers tend to get the Linbury, if anything.) Some of this mainstream work is found to be- by lots of posters on this forum, not just me - not all that great. Some of it, I feel,  is quite cliched.  So I would like to see some different choreographers given much more main stage time, and I would like more of them to be women. I would hope this could happen, without quotas etc, which don't usually work in my view.

But why it doesn't happen- why we get repeat viewings of not very good pieces like the recent case of Age of Anxiety,-but others spring to mind- instead of a new work, I don't know: I suppose it's mainly financial..but not entirely.

 

4 minutes ago, capybara said:

I would have thought that it was perfectly reasonable for Kevin O'Hare to sign up with MacGregor, Wheeldon and, then, Scarlett for a few years but not for eternity and not with too many guarantees of new commissions or repeat showings. The Royal Ballet now feels a bit boxed in by its obligations to these three choreographers and widening its net (more) would be no bad thing - in fact, judging by the Pite, a very good thing.

 

3 minutes ago, bridiem said:

 

I think that's very true, capybara. Given that there are never going to be that many new (and revivals of new) works in a season, having 3 people who are all given some sort of priority is far too much. And I personally don't think that any of them really justify the status by the works, much as I've enjoyed some of the works by all of them.

 

Hear hear hear !!!!! 

 

Too many new works by the same three for years and years and unfortunately another new work from the mediocre Marriott in the new season  ! I'd love to see more variety in commissioning generally including more from female choreographers.

 

What happened to Brandstrup's Invitus Invitam ? It was a gem for the main stage a few years ago which has been buried since and he hasn't been invited back. Ratmansky's 24 Preludes for the RB may not have been his most successful piece but much of what he's done for ABT and NYCB has been brilliant but I don't suppose we'll see anything by him again. Forsythe's Blake Works for Paris was terrific as was Pite's The Seasons Canon.

 

It seems to me that not only would a wider range of choreographers give the audience more variety in dance style but different choreographers come into the company afresh and maybe focus on different dancers which surely is a benefit for the company too. 

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1 hour ago, Fonty said:

This may have been answered somewhere else, if so, apologies.  But has anyone asked Kevin O'Hare specifically about why there is nothing to mark Fonteyn's centenary?  

Fonteyns centenary is 2019 so there may be celebrations in the 2019 season. 

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As her birthday was in May it seems highly unlikely that they will schedule something for 2019/20.

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Considering that she is and always will be the company's Assoluta, and the immense part she played in establishing it as one of the world's best, I am astonished that there wasn't even a mention of her centenary.  A revival of Ondine  perhaps?  Nothing.  Unless they are planning a tribute evening that we haven't been told about?  I doubt it somehow.

 

I don't understand why they are celebrating Bernstein's centenary but not Fonteyn's.  He had nothing to do with the company whilst she, to a great degree, created it and its English style.  Gggrrrr.

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On 3/21/2018 at 13:09, aliceinwoolfland said:

I’m so excited by the new season but have to say I’m totally fed up of Nutcracker every year. 

I think Nutcracker is a guaranteed "crowd pleaser" and it does bring in new young audiences.  Considering it is Petipa's bi-centenary, it may have been good to revive The Sleeping Beauty rather than Nutcracker over the Xmas period (another "crowd pleaser").  On the Petipa/Tchaikovsky theme, after spending a huge budget on the new Swan Lake, am surprised that it gets no performances for the 2018/19 season.  Admittedly, is scheduled for many performances this summer, but a big new piece like this usually has a further run the following season. 

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9 minutes ago, fashionista said:

 after spending a huge budget on the new Swan Lake, am surprised that it gets no performances for the 2018/19 season.  Admittedly, it is scheduled for many performances this summer, but a big new piece like this usually has a further run the following season. 

 

But isn't Kevin O'Hare planning for the 2019/20 season to be all new works or new productions from the period of his tenure as AD? So maybe he needs Swan Lake as a centrepiece for that?

 

In the context of Swan Lake, I feel rather sorry for the dancers who are not among the 6 pairs cast this year as they will have to wait an undue amount of time before they get their shot at Odette/Odile and Siegfried.

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58 minutes ago, fashionista said:

I think Nutcracker is a guaranteed "crowd pleaser" and it does bring in new young audiences.  Considering it is Petipa's bi-centenary, it may have been good to revive The Sleeping Beauty rather than Nutcracker over the Xmas period (another "crowd pleaser").  On the Petipa/Tchaikovsky theme, after spending a huge budget on the new Swan Lake, am surprised that it gets no performances for the 2018/19 season.  Admittedly, is scheduled for many performances this summer, but a big new piece like this usually has a further run the following season. 

 

I suspect that Sleeping Beauty may return in Autumn 2018 - in honour again of Petipa AND Fonteyn and the SL in 2019 for the reason that Capybara suggests and also due to the fact that ENB is doing SL in their Winter 2018/19 Season (although that may not be a consideration as both do Nutcracker as it happens at the same time).  All of these, of course, bring in the youngsters.  

Edited by Bruce Wall

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Bruce, we're already in  2018 :)  I assume you mean 2019 and 2020?

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12 hours ago, Sim said:

Considering that she is and always will be the company's Assoluta, and the immense part she played in establishing it as one of the world's best, I am astonished that there wasn't even a mention of her centenary.  A revival of Ondine  perhaps?  Nothing.  Unless they are planning a tribute evening that we haven't been told about?  I doubt it somehow.

 

I don't understand why they are celebrating Bernstein's centenary but not Fonteyn's.  He had nothing to do with the company whilst she, to a great degree, created it and its English style.  Gggrrrr.

i have a horrible feeling the Fonteyn commemoration might well be a tribute evening, and a horribly expensive one at that, with a post-show dinner as its main selling point. 

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Oh gosh let's hope not.  I'd rather have nothing, than have a commemorative event where many of her real fans, and balletomanes, can't afford to participate.  

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8 minutes ago, Sim said:

Oh gosh let's hope not.  I'd rather have nothing, than have a commemorative event where most of her real fans, and balletomanes, can't afford to participate.  

 

I fear this may be the case, Sim.  Look at the Hvorostovsky Celebration last Sunday evening.  I was - at the end of the day - able to get a Balcony standing place - but this was not easy.  It was - in the truest sense - an exclusive (and I have to say very enjoyable) event for a deeply loved international artist who saw the ROH as 'his home' - given that the entire Amphitheatre was closed off.  

 

Edited by Bruce Wall

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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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Maerling,  Infra and Romeo and Julie there are my favorites for next season.

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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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Hmm, that sounds a bit strange.  I wonder what it means.  It doesn't say "dynamic pricing" ...

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Sounds like gobbledegook to me.

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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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Dynamic pricing system?  I have a vision of the budget airline method of pricing seats.  Get in early, get the cheap seats.

 

And send the ROH online booking system into meltdown.....

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