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Post by clarefh on May 19, 2024 17:29:42 GMT
I really, really dislike Alice but do think it’s a ballet that does work well for dancers who are not yet principals/ are younger. The best bit IMHo of the first run was Beatriz Stix Brunell as Alice.
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Post by solotheatregoer on May 26, 2024 19:15:55 GMT
Caught the encore of The Winter's Tale today. I really enjoyed Act I but II and III fell a little flat for me. Matthew Ball was incredible though so I'm glad I managed to see one of his performances, even if not in the flesh.
As a side note, I really love these cinema screenings with the interviews and backstage insights, but Darcey Bussell is really starting to grate on me. She always seems a little tipsy and spaced out with missed cues, fumbled words and she doesn't come across as coherent in her interview technique at all. Wish they would replace her with someone else.
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Post by theatrefan77 on May 27, 2024 0:38:17 GMT
Saw The Winter’s Tale at ROH on Wednesday when it was being filmed for cinemas. Overall I enjoyed it but thought Act II was the weakest. Great to see Ball, Nuñez and Sambè on top form.
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Post by Dawnstar on May 27, 2024 21:20:05 GMT
As a side note, I really love these cinema screenings with the interviews and backstage insights, but Darcey Bussell is really starting to grate on me. She always seems a little tipsy and spaced out with missed cues, fumbled words and she doesn't come across as coherent in her interview technique at all. Wish they would replace her with someone else. I understand that a lot of her word issues are due to be ing dyslexic so she finds reading the autocue or cue cards difficult. I actually didn't think she had too many difficulties this time compared to some broadcasts, although it was inadvertantly amusing when she read out "heart rendering" rather than the intended "heart rending"! Saw The Winter’s Tale at ROH on Wednesday when it was being filmed for cinemas. Overall I enjoyed it but thought Act II was the weakest. Great to see Ball, Nuñez and Sambè on top form. The first time I saw it, at the cinema with the original cast, I wasn't very keen on Act II but I've enjoyed it a lot more this time around, both live x 4 & at the cinema. I think that's a mixture of being a lot more familiar with the dancers and that after several months of not very cheerful narrative ballets - Manon, Different Drummer, Swan Lake plus Acts I & III of Winter's Tale - it's been nice to see something joyous like (most of) Act II. I do agree that Act II doesn't have as much drama or plot advancement as the other two acts. |
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Post by solotheatregoer on May 28, 2024 21:44:15 GMT
Casting has now been announced for Cinderella too. Out of Cinderella and Alice, any thoughts on which one I should choose? I can't really afford to see both this year and I may end up just seeing the cinema screenings for both. If I was to see one live, any recommendations? I have not seen either of them before. I will definitely be booking a Bracewell performance. He's partnered with Hayward in Alice (who I have not seen before) and Kaneko in Cinderella (such a powerhouse duo) and can't decide which combo to choose!
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Post by tmesis on May 29, 2024 6:50:30 GMT
I would definitely recommend Cinderella over Alice solotheatregoer . Alice is OK to see once but does not stand up to repeated visits. Also it’s not choreographically very interesting (a bit Matthew Bourne-ish) and the least interesting of Wheeldon’s full length ballets (time to revive Like Water for Chocolate?) Cinderella is a handsome production with first rate - but not Ashton’s best - choreography, although he’s still streets ahead of any more modern efforts. Also Cinderella has Prokofiev’s fabulous score and Alice is Talbot’s most tedious - an enervating, endlessly percussive, tuneless score that outstays its welcome - his efforts for A Winter’s Tale are much more distinguished. |
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Post by solotheatregoer on May 29, 2024 8:22:07 GMT
I would definitely recommend Cinderella over Alice solotheatregoer . Alice is OK to see once but does not stand up to repeated visits. Also it’s not choreographically very interesting (a bit Matthew Bourne-ish) and the least interesting of Wheeldon’s full length ballets (time to revive Like Water for Chocolate?) Cinderella is a handsome production with first rate - but not Ashton’s best - choreography, although he’s still streets ahead of any more modern efforts. Also Cinderella has Prokofiev’s fabulous score and Alice is Talbot’s most tedious - an enervating, endlessly percussive, tuneless score that outstays its welcome - his efforts for A Winter’s Tale are much more distinguished. Thanks tmesis! I've watched a few clips from past performances on the ROH YouTube channel and from what I have seen I think I would enjoy Cinderella more. I will check availability when general sale goes live in July. Thankfully I'll at least catch both in the cinema but considering how expensive tickets are plus travel and hotel costs I want to make sure I choose the right one. Especially since I plan to book a couple of shows for Romeo & Juliet next year too. |
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Post by clarefh on May 29, 2024 13:12:34 GMT
I would also recommend Cinderella - it has the beautiful choreography and in my opinion is just a much richer and interesting ballet.
I really don’t like Alice though! Think it’s quite shallow and struggle a bit generally with Wheeldon choreography as it never really touches me.
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Post by solotheatregoer on Jun 5, 2024 16:24:36 GMT
Nice to see Kaneko and Bracewell win best dancer awards at this year's Critics' Circle awards. Cannot wait to see them pair up again!
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Post by catcat100 on Jun 11, 2024 11:46:13 GMT
Managed to catch the Ashton triple last night on a standing rush ticket and was pleasantly surprised. First time in ages that I've enjoyed all three parts of a triple.
Enjoyed the bounciness of Les Rendezvous, the comedy of The Dream and the Passion in Rhapsody. Kept me enthralled all the way through despite the phones in one of the boxes.
One learning point though, don't go standing the day after a running race, was feeling it somewhat by the end.
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Post by solotheatregoer on Jun 15, 2024 12:32:28 GMT
Is anyone with ROH Friends membership able to let me know if there are front row seats available for Alice on 3rd October please?
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Post by couldileaveyou on Jun 15, 2024 12:52:55 GMT
Is anyone with ROH Friends membership able to let me know if there are front row seats available for Alice on 3rd October please? I think only Premium Friends can book atm, Friends should be able to check from the 20th |
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Post by Someone in a tree on Jun 25, 2024 8:41:04 GMT
Is anyone with ROH Friends membership able to let me know if there are front row seats available for Alice on 3rd October please? Front row seats are currently available in every level |
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Post by Someone in a tree on Jun 25, 2024 8:43:08 GMT
No seats left for rhe bernstein double bill. Bum. But i got tickets for Onegin and Fidelio - yay
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Post by solotheatregoer on Jul 2, 2024 18:15:09 GMT
Sorry to be a pest but can someone let me know if front row of stalls is available for Maddaddam on Thursday 14th November? The anticipation for 10th July general booking is killing me!
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Post by couldileaveyou on Jul 2, 2024 19:28:55 GMT
Sorry to be a pest but can someone let me know if front row of stalls is available for Maddaddam on Thursday 14th November? The anticipation for 10th July general booking is killing me! No, all front row booked on the 14th |
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Post by vabbian on Sept 5, 2024 14:18:14 GMT
Have a free stalls standing ticket for Traviata tonight 7pm to whoever wants it - I can't go. PM me  |
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Post by joem on Sept 7, 2024 23:32:58 GMT
Forgot to buy the Bernstein ticket and now sold out of course. I shall have to live to a hundred now to make sure I catch the next London production.
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Post by Someone in a tree on Sept 11, 2024 15:47:21 GMT
Forgot to buy the Bernstein ticket and now sold out of course. I shall have to live to a hundred now to make sure I catch the next London production. Ive been the checking the website for returns and today was my lucky day. A two month quest has now come to an end - keep going and good luck! |
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Post by richleeds on Sept 14, 2024 19:26:08 GMT
Forgot to buy the Bernstein ticket and now sold out of course. I shall have to live to a hundred now to make sure I catch the next London production. Quite a few returns on sale at the moment, handful of tickets available for most dates. Just snapped one up for the only date that I could attend. |
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Post by theatrefan77 on Sept 19, 2024 21:38:50 GMT
There was a strange atmosphere last night at the Royal Opera House. Very abrupt borderline rude woman directing patrons to their seats in the Balcony. Many empty seats -more than I've ever seen there- and lots of people moving seats during the performance of La traviata to get a better view which was very distracting. Then at the interval several people were talking loudly about having got top seats for £15 thanks to friends in marketing. I don't think the insiders who got the deal for them would be too happy with the word being spread like that.
Then during the performance there was a long pause in the second act where nothing was happening and the woman playing Annina was alone onstage and kept organising a tray while looking worried. The performance carried on but after a long pause. To top it all up when the last act was about to start one the violinists was missing. The conductor looked puzzled and after another long pause the violinist came in running, kind of giggled and took her violin out while the conductor was shaking his head in disbelief.
It was the most bizarre night I've spent at the ROH. Had it been my first visit, it would have put me off going back.
I guess the fact that the I didn't enjoy the performance much didn't help. I've seen La Traviata many times over the years and always enjoyed it, but somehow last night it looked lifeless and dull, seemed to have lost its spark.
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Post by Someone in a tree on Oct 21, 2024 7:22:55 GMT
Bernstein double bill.
A strange and wonderful evening that taught me not to wear denim hotpants at a funeral!
I can see why the two operas are paired but they are so different, especially compostionally. Place feels like an Tippet opera but Tahiti is definitely Bernstein.
Wallis Giunta was again magnificent in the role and Henry Neil was so accomplished and deseres a gong.
The singing, playing and sound quality was incredible which matched the insightful production.
At times i hated it, other times it was puzzlement and then the final image was so beautiful - surely this is what art should be?
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Post by blamerobots on Oct 21, 2024 8:31:29 GMT
To top it all up when the last act was about to start one the violinists was missing. The conductor looked puzzled and after another long pause the violinist came in running, kind of giggled and took her violin out while the conductor was shaking his head in disbelief. That is UTTERLY insane. I imagine the conductor was about to blow his top.
Rule 1 of being a musician; you are never, ever late. Always early. I've seen musicians dismissed on the spot for being late more than once.
Doesn't seem like the London opera houses are off to a good start.
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Post by Dawnstar on Oct 23, 2024 15:24:33 GMT
I'm rather surprised to receive a 30% off offer for the new Tales of Hoffmann production two weeks before it's even opened. I would have expected them to wait & see if the first night reviews shifted any more tickets before resorting to offers. I'm sure I can't be the only person waiting to find out what the production is like before deciding whether or not to see it. So perhaps either ticket sales must be dire or they already fear the reviews won't be great!
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Post by parsley1 on Oct 23, 2024 15:41:11 GMT
I'm rather surprised to receive a 30% off offer for the new Tales of Hoffmann production two weeks before it's even opened. I would have expected them to wait & see if the first night reviews shifted any more tickets before resorting to offers. I'm sure I can't be the only person waiting to find out what the production is like before deciding whether or not to see it. So perhaps either ticket sales must be dire or they already fear the reviews won't be great! Ticket sales dire The prices are so high £300 top price So unsurprising BUT the production has been well received in Sydney with much praise The issue is it is replacing a much loved lavish old staging at the ROH |
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