bridiem

He doesn't!

Apparently customerservices@roh.org.uk is the email address to use. Or you could always go straight to the top: Alex.Beard@roh.org.uk

Yes - I think the 'public perception' appears to be what matters to the ROH, regardless of the reality.

Well I'm not sure if it's that clear in fact, RuthE - for the first time in ages, my handbag was checked (as was my friend's) when I went in the front door last week.

Well now that sounds like a barrel of laughs... It does also sound fascinating. I can't at the moment access the info about the shows in London next June - where will they be?

I found even his début tremendously affecting.

And now I'm going to have to cheat because I can NOT leave out Lamb/Muntagirov in Winter Dreams. His solo in particular was breathtakingly beautiful with a slightly wild quality I haven't seen in him before whilst still being wholly disciplined and technically stunning. Disqualify me if you so wish!

Well I don't remember it very well, but I do remember loving it. I don't think it's a hard watch in the way that some non-narrative works can be. But it's all personal of course!

Trying to stick to 5 is virtually impossible!! I'm tempted to have the same 1. to 5. as jmhopton's first offering (i.e. wall to wall Muntagirov; I think he is the most beautiful and thrilling dancer imaginable). But I'll go with these, though there are plenty of others I could have included: In no particular order (as they say): Lamb/Muntagirov in RB's Manon. Absolutely heartbreaking. For me this is the most moving partnership at the RB at the moment (though there's plenty of competition) Nunez/Muntagirov in the new RB Swan Lake. Though I now have serious reservations about the production, there's also a lot to love and these two dancers gave it the best possible première performance ENB's Lest we Forget programme - absolutely brilliant Les Patineurs, RB - perfect, really La Bayadère, RB - to my great surprise I loved these performances, especially the Nunez/Muntagirov/Osipova casts And as you will see I haven't even mentioned Campbell, Hayward, Naghdi, Hirano and so many other dancers who have given me so much joy this year, or the superb performances of Mayerling. I'm so grateful to all the dancers, and to everyone else who makes these performances possible.

I come from the tube and turn into Floral Street and go in at the side/front entrance. I love Floral Street - it still feels a bit like the old Covent Garden, and going past the stage door is always exciting.

Sounds like a terrific afternoon Mary!

Good for the LBC, capybara! But the RB hasn't even made a 'save the date' announcement yet (and if it's a one-off the potential audience will be very limited). But I hope something materialises soon.

Interesting. I see Campbell is partnering Naghdi instead of Magri in Don Q, presumably related to the apparent requirement that all the lead roles be danced by principals. I assume that the gala programme includes the pas de deux from Winter Dreams rather than the whole ballet, otherwise it would be a monumentally long performance. And how come Japan gets a tribute to Margot Fonteyn near the time of her birthday, and London doesn't?? (Or is something going to be cobbled together for London at the last minute?? If so it will probably be too little/too late and/or too expensive for many people to go.)

Your post made me want to weep, Fonty. The frustration and problems that are so obvious and so unnecessary. Grrr...

I wish (but not by bringing forward his already untimely death!) that Winter Dreams had been MacMillan's last ballet - instead of The Judas Tree. Winter Dreams may not be perfect but it's still the work of a great artist and a great choreographer and at times profoundly moving. I personally suspect that The JT would have quietly lapsed from the repertoire if it hadn't sadly acquired the 'last ballet' overgloss. As far as I am concerned, I will in future regard Winter Dreams as his farewell. I'm so grateful to him, for so much.

On Wednesday evening, a young woman in the front row of the Amphi at the ROH, some way to the side, not only leaned a long way forward in her seat but also then proceeded to pull a long strand of her (long) hair out to the front, literally as far as she could stretch her arm, AND THEN LEFT HER ARM THERE!!! Every now and then she'd pull the hair back and take another strand off for a walk out front. So her arm clutching a strand of hair was permanently just sticking way out into the auditorium. Absolutely bizarre. Totally distracted me (and I'm sure others) from the beginning of Les Patineurs, so it was really very annoying. Unfortunately no-one behind her called her to order; fortunately, an usher saw what was happening and did intervene in the end. I ask you.

Apparently not.

Interesting discussion about the maid, and I am somehow managing to agree with both/all sides! Dear, dear, what a wimp. 🤔

Oh I see! I got the wrong end of the stick. Yes, that makes sense.

Yes, that's interesting. But I suppose I find most of the work rather episodic and a bit disjointed so I didn't really notice it at the time.

I don't recall ever having done this, or even having visited a website where I've been asked to do it (and I browse a LOT!). I would think it very odd if I came across it. But if it's standard practice, that's good and I hope it results in a more effective website this time round.

I've received an email from the ROH including the following: 'We are currently testing a new Tickets & Events page to replace the existing What’s On page so you might notice a difference next time you go online to buy tickets. The new page is currently visble to 12.5% of users. If you experience any issues, please call us on +44 (0)20 7212 9268 and we can help you navigate the new pages. If we and/or the Box Office is closed, and you need to book tickets, you can clear your cookies and refresh the page to see the old What’s On page instead.'

She was a fantastic Clara!

Maybe The Dream? Or Penguin Café?

Well if so (which I'm sure is the intention), it doesn't come over to me at all.