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Royal Ballet (ROH) season announcement 2019/20


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7 hours ago, Josephine said:

There is now a web page for the 2019/20 season. I hope it's correct to assume that Onegin will be in the Winter booking period? This page places it in both Autumn and Winter periods:  http://www.roh.org.uk/seasons/2019-20

 

Yes, it's in booking period 2 (confirmed if you click through to see the booking dates).

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8 hours ago, Sim said:

I can’t remember the last time I saw them do it!  I do hope they update the production...

I do believe Coppelia was last shown in 2006 as I remember seeing Roberta Marquez with Slava Samodurov perform and I did note the dates.  So glad they are reviving this ballet and there should be some interesting new debuts - am hoping for Yasmine and Anna-Rose )))

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Just looked at the year broken out into seasons. It’s very top heavy. 4 productions in Autumn all of which I want to see and very little  classical ballet in Winter/Spring/Summer. I think I am going to become quite a stranger to the opera house this year. On the plus side that leaves more money for ENB and BRB at the Coli and Sadlers. 

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Many thanks Josephine

 

The information by season means I can now see booking dates for each season which I hadn’t managed to find earlier in the week  - and I’m not sure why the season guide doesn’t give the booking periods as 9:00 on the appropriate booking day is pretty crucial information.  But if I then look at a production from the season menu, I don’t see the pricing charts.  

 

Using the Tickets and events route to select a production, the pricing chart is available, albeit the charts don’t seem to be working but at least it’s easy to see the range of prices by production.  

 

I don't like carping (honestly) but there’s still so much to do with the website.

 

On a much brighter note, I’m looking forward enormously to the new season - never seen Coppélia, delighted with Onegin, and have high hopes for the Cathy Marston/du Pre and The Dante Project, particularly given Tomas Adès’ commission.

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I am new to the forum so this is my first post! I am looking forward to Coppelia, a welcome change from the Nutcracker, in my view (although the Ashton Cinderella would have been even better). I haven’t seen the RB Coppelia for many years, maybe not since 1969, although I have seen BRB and ENB do it more recently. But my real excitement is for the Enigma/Raymonda bill. I haven’t seen Enigma Variations since childhood- my first ever mixed programme- and it made a big impression on me, I still remember Antoinette Sibley’s performance and Derek Rencher as Elgar. I will try out the new things too. As others have said, it seems too soon to have Manon again after 2018 in the ROH and January this year for the ENB run of it in London. 

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22 minutes ago, AnneL said:

I am new to the forum so this is my first post! I am looking forward to Coppelia, a welcome change from the Nutcracker, in my view (although the Ashton Cinderella would have been even better). I haven’t seen the RB Coppelia for many years, maybe not since 1969, although I have seen BRB and ENB do it more recently. But my real excitement is for the Enigma/Raymonda bill. I haven’t seen Enigma Variations since childhood- my first ever mixed programme- and it made a big impression on me, I still remember Antoinette Sibley’s performance and Derek Rencher as Elgar. I will try out the new things too. As others have said, it seems too soon to have Manon again after 2018 in the ROH and January this year for the ENB run of it in London. 

 

Enigma was in my first ever mixed programme too, AnneL! So will always be (extra-)special for me. Exciting for you to see it again next season!

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1 hour ago, bangorballetboy said:

 

Yes, it's in booking period 2 (confirmed if you click through to see the booking dates).

 

Thank you for confirming. I'd thought that the booking dates were evidence for Winter booking, and hoped so in terms of personal budget! Still it seems odd that the individual production pages for Onegin and La traviata both feature this statement:
'These events are part of the Autumn 2019 and Winter 2019/20 seasons.'

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1 hour ago, JohnS said:

Many thanks Josephine

 

The information by season means I can now see booking dates for each season which I hadn’t managed to find earlier in the week  - and I’m not sure why the season guide doesn’t give the booking periods as 9:00 on the appropriate booking day is pretty crucial information.  But if I then look at a production from the season menu, I don’t see the pricing charts.  

 

Using the Tickets and events route to select a production, the pricing chart is available, albeit the charts don’t seem to be working but at least it’s easy to see the range of prices by production. 

 

At the moment I can view pricing charts only for productions in the Autumn booking period (this includes viewing Autumn booking period productions via the season menu). But currently I cannot view the specific seating areas to which the various pricing levels relate.

 

Perhaps my browser format (Firefox) is limiting the information I see?

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1 hour ago, Jan McNulty said:

Is it possible to find out the seat prices for performances in the Linbury?

 

The Magazine only gives the range of prices, eg:

Cunningham/ Ashton ..etc £5 - £25

Dance umbrella £7-£35

Northern Ballet £6-£40

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On 14/05/2019 at 18:06, Lizbie1 said:

It’s the “Heritage” (awful word) mixed bill I’m most interested in, and it’s the one we have least information about so far - has anyone heard anything more about it?

 

There’s nothing concrete to go on in the Friends’ season guide, but the blurb says that the programme will include works by MacMillan and Ashton and it’s illustrated with a picture of BRB in Dante Sonata (getting my hopes up here but expecting them to be cruelly dashed!).

 

While I don’t like the idea of these works being relegated to Heritage Corner, wouldn’t it be wonderful if this proves enough of a success that exploring the back catalogue through a run in the Linbury becomes an annual event?

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*Such* an interesting article from the Gramophone in today’s links about the Marston commission: https://www.gramophone.co.uk/feature/the-royal-ballet-commissions-cathy-marston-to-celebrate-the-life-of-jacqueline-du-pre

 

One of the things I admire most about Cathy Marston is that she never falls into cliche, even when her subject positively invites it. I was apprehensive on that front when they announced that the new ballet would be about Jacqueline du Pre and feature the Elgar concerto (I worried that her story had been done to death) but I’m very reassured by this interview.

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19 minutes ago, Lizbie1 said:

I’m very reassured by this interview

 

Thanks for posting the link.  I think this could be an extremely moving work, given the music and the subject matter. 

 Here is Jacqueline  du Pre playing the concerto .... 

 

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'There’s one matter, however, on which Marston is very much decided. This will not be a ballet that dwells on scandal and tragedy. '

 

Thank goodness for that- I was worried this would be yet another work dwelling on  a female victim, illness and death etc - but it sounds much more like a celebration of talent, for a change.

 

 

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3 minutes ago, Mary said:

 it sounds much more like a celebration of talent.....

 

 

 

and hopefully of a bubbly, fun-loving young woman who brought joy and huge affection into the lives of everyone who knew and worked with her.

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1 hour ago, alison said:

BTW, is anyone familiar with Doncaster's theatre?  I'm wondering what the RB might be performing there.

It's a lovely venue, bright and modern with great sightlines. Small, though, at 600 and something seats. 

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As has been pointed out elsewhere (by Lizbie1), Swan Lake runs from 05 March to 16 May 2020 yet has been placed in the Winter booking period which starts on 03 September   for Premium 2 Friends, on 25 September for Friends, and 24 October for general booking.

 

How will this tie in with the casting announcement and booking decisions?

 

This year Frankenstein started on 05 March as well, and ended 23 March, and it was perfectly logically placed  in the Spring booking period, which started on 27 November  2018  for Premium 2 Friends, on 12 December  for Friends, and 30 January for general booking. Casts for Frankenstein and the rest of the Spring season were announced 23 October 2018,  just over 4 months before it started.

 

Casts for Swan Lake are going to have to be announced by late August to be in time for first bookings in  September,  just over 6 months before it starts and almost 9 months before it ends. Is this at all realistic? Or is it more likely that booking for Swan Lake will already have opened long before any cast announcement? 

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1 hour ago, Richard LH said:

As has been pointed out elsewhere (by Lizbie1), Swan Lake runs from 05 March to 16 May 2020 yet has been placed in the Winter booking period which starts on 03 September   for Premium 2 Friends, on 25 September for Friends, and 24 October for general booking.

 

How will this tie in with the casting announcement and booking decisions?

 

This year Frankenstein started on 05 March as well, and ended 23 March, and it was perfectly logically placed  in the Spring booking period, which started on 27 November  2018  for Premium 2 Friends, on 12 December  for Friends, and 30 January for general booking. Casts for Frankenstein and the rest of the Spring season were announced 23 October 2018,  just over 4 months before it started.

 

Casts for Swan Lake are going to have to be announced by late August to be in time for first bookings in  September,  just over 6 months before it starts and almost 9 months before it ends. Is this at all realistic? Or is it more likely that booking for Swan Lake will already have opened long before any cast announcement? 

 

I don't think they could open booking without the principal casting having been announced - I can't remember that ever happening for a full length work (apart from creations, I suppose).

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7 minutes ago, bridiem said:

 

I don't think they could open booking without the principal casting having been announced - I can't remember that ever happening for a full length work (apart from creations, I suppose).

 

Of  course other companies open booking before casts are announced, but it would certainly be an unwelcome and  retrograde step for the RB. 

 

I suppose minimal casting information might  be announced (just the two main leads) before  first booking, but with the increased risk, so far ahead, of more cast changes nearer the time.

 

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21 minutes ago, Richard LH said:

 

Of  course other companies open booking before casts are announced, but it would certainly be an unwelcome and  retrograde step for the RB. 

 

I suppose minimal casting information might  be announced (just the two main leads) before  first booking, but with the increased risk, so far ahead, of more cast changes nearer the time.

 

 

Yes, it would a completely unwelcome step!

 

We generally get minimal casting info nowadays anyway, whenever it's announced...

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I’m often quite happy to take pot luck - and indeed very often the dates I choose are dictated by whether they combine well with something else I want to see - but for this Swan Lake casting is important to me, as I’ve seen this production several times with three different pairings and ticket prices will be high.

 

Obviously you can never guarantee a cast, but I don’t think I’ll be booking unless and until I at least know what the intention is.

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2 hours ago, Lizbie1 said:

I don’t think I’ll be booking unless and until I at least know what the intention is.

 

Which is understandable. The uncertainty so far out  may mean the ROH won't be gaining as many  front-loaded  "Winter" bookings as they hoped. 

 

 

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I wouldn't worry about the great classics not getting sold out fast as there are always numerous corporate bookings, tourist bookings,... and these people do not care who is dancing. They just want to see a classical ballet at The ROH, they go to any show they can see whilst in London.

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Oh dear.  Coppelia is a light hearted ballet, and it would be nice to see it again.  Onegin?  Fine if I can get a cheap(er) seat.  But those prices are wicked.  Obviously someone is paying them, otherwise they wouldn't shove the prices up so much, but I do wonder who.  And having seen the RB start to get to grips with Ashton once more, and perform it with a bit more skill and enthusiasm, it seems downright criminal to have so little by him.  

Yet they manage to shove in MacMillan yet again.  I really do wish that they would give the full length ballets a rest.  Is there some sort of contractual obligation that Manon,  Mayerlng and R & J have to go round in rotation?  

 

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