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bridiem

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Everything posted by bridiem

  1. bridiem
    Yes, I think the similarity of the costumes are part of the problem; but I was also thinking the other day that I would nevertheless not want them to be changed, because the whole palette of the ballet is so consistent and part of what gives it its flavour and power. The rich, deep, stifling, all-encompassing environment against which Rudolf reacted is reflected beautifully in the costumes. But perhaps slightly more differentiation in the wigs might help? And I agree that an older-looking Empress works much better. (Regular ballet-goers understand about suspending disbelief about such things, given that ballet is such a physical art and most dancers are young; but newcomers are likely just to see a young woman and a young man! And I don't think the Empress's choreography really requires a younger dancer.)
  2. bridiem
    Oh dear! That's really sad.
  3. bridiem
    I agree with much of your post above, Richard LH, but Mayerling is an exceptionally confusing ballet for newcomers, and the cast sheet synopsis is exceptionally and unnecessarily unhelpful (in fact I thought it was very funny, until I realised that it really shouldn't be). And unless you know this in advance, you won't know that you have to do 'homework' beforehand (and if you did, that may well put people off from going at all). Having said that, I do get quite irritated by people who turn up knowing nothing whatsoever about the ballet they've come to see, and often getting to their seats too near curtain up even to be able to read the cast sheet... The ROH does provide a lot of information if you're looking for it (far more than when I started going to ballet), and often more than other companies; but it is far better resourced than other companies, so that should be the case.
  4. bridiem
    To be honest, these look amazingly ugly to me, even when graced by Francesca Hayward. But then I'm hardly their target market...
  5. bridiem
    That's fascinating! I wonder what her son would have made of the ballet?!
  6. bridiem
    Ah, so it IS actually space that is the issue, not numbers! I misunderstood the fundamental issue. Thanks, bbb, that's interesting.
  7. bridiem
    But with ballet performances, of works that have been done before or new works with small (or no) orchestral requirements, why would this not be known at the outset? Why should orchestral requirements change from one run to the next of a production? (Might this change if a new conductor is involved? Or the same conductor using a different approach?). And even with operas, why would the required orchestra strength and sound levels not be known in advance especially with established works? I realise that I know little about opera; but I do know a bit about mounting (and costing) choral and orchestral concerts involving amateur/semi-professional/professional musicians and orchestras of varying sizes and the issues involved. Perhaps the luxury of having a house orchestra means that such matters don't need to be decided in advance?! Sorry, lots of questions! Just thinking aloud about the questions raised for me by the ROH response.
  8. bridiem
    I don't really understand this. Can they not decide in advance if those seats are going to be available for a particular production, and sell them as normal?
  9. bridiem
    Well it does now say that ticket prices may change according to demand. Has it said that before at SW? I often leave booking for SW until nearer the time, when other more cast-sensitive dates have been finalised. Does that mean I will end up paying more?? (or, going less, in reality).
  10. bridiem
    Thanks very much, Don Q Fan - great photos! I was also caught by the change in escalator direction; in fact I nearly came to grief...
  11. bridiem
    I have several times in the last year had to ask about cast changes in the interval because I can see that the dancers have not been those on the cast sheet. First I've been told that the cast is as on the cast sheet; when I've insisted that it isn't, I've been told to ask someone else. When I've done so I've been told there are cast change slips available, and eventually I've found a few tucked under a desk somewhere. Ridiculous.
  12. bridiem
    I found Mayara Magri an unusually subtle and interesting Mitzi Caspar. But an excellent performance all round, with Steven McRae much more rounded and nuanced than I had expected. And as usual I loved the interviews etc. Great to see Laura Connor again. And I thought it was really funny when they said about the pdds 'don't try this at home'!! (I wasn't intending to...).
  13. bridiem
    I'm not sure that is silly, in fact; ballet is a visual art so the way dancers look does matter. But it's then a question of suspending disbelief, so to speak, in order to enter into the performance. Normally that's easy, but I did find it quite a struggle, for example, to believe that Kristen McNally (in spite of her excellent performance) was Rudolf's mother in Mayerling last weekend, since she looked exactly the same age as her putative son. (The age issue bothered me, but the fact that her son looked very different from her didn't; so it's clearly not logical!).
  14. bridiem
    I wonder then why they've taken down all the photos in the amphi corridors, including the old ones of the theatre. Again - no atmosphere. I hoped/hope that that is just a temporary situation and they are going to put photos up. (But if so, why make a big fuss about re-opening etc if you haven't actually finished?).
  15. bridiem
    Yes, that was my one point of real approval too! (Though I did wonder why it's taken 18 years to do something so simple and which has been clearly a problem for all of that time...). Though having read Thalia's post below, the arrangement evidently still isn't quite right.
  16. bridiem
    Yes, very good point! I've sent a further email in respect of regular attenders who are NOT Friends.
  17. bridiem
    The ROH has replied again: 'Once again we are very sorry the wrong impression was given. As we’ve subsequently said, we didn’t mean that we want our Friends to come less often.' Strange, since that's exactly what they said... But I suspect that's as far as I can get for now. (Though I did reply saying that I hoped the ROH would issue a public statement withdrawing the policy, to avoid any further confusion.)
  18. bridiem
    I received a further reply from the ROH: 'Please be assured that we have no intention of deliberately reducing the number of Friends attending performances at the ROH. The piece in Arts Professional describes more generally the ROH’s intention to broaden its audience in the long-term, and we deeply apologise if the wrong impression was given to Friends about our pricing policy.' i.e. once more (presumably deliberately) refuting an allegation that was NOT made and not addressing the issue that WAS raised. I have replied to point out that I did not say that they wish to reduce the number of Friends attending but that they wish to raise prices to reduce frequency of attendance, with the direct quote again from Lucy Sinclair.
  19. bridiem
    I received a reply from Sacha Glasgow-Smith, along the same lines as previous reports. I have asked her to clarify how what she says tallies with what Lucy Sinclair said.
  20. bridiem
    I was in the Amphi, glued to my opera glasses...
  21. bridiem
    That's fascinating, Nogoat, and I'd forgotten she crossed the stage on her knees!
  22. bridiem
    I received the ROH magazine mailing today with a letter from Sacha Glasgow-Smith (Interim Head of Friends and Fundraising Campaigns). So I have replied to her letter by email, commenting on the Arts Professional interview.
  23. bridiem
    Also, in the scene at her home, the way Osipova/Mary deals with the letter to Rudolf is fascinating. Before handing it to Larisch, she shows moments of hesitation and doubt whilst she ponders what she's about to do; and when she finally hands it over she does so with an air of almost defiant acceptance. She knows she's doing something reckless, dangerous, even fatal; but she's decided to cast her die. In the final pdd between Rudolf and Mary: all hesitation gone. The image that has stayed with me is Osipova/Mary simply lying flat on her front, arms stretched out ahead of her towards Rudolf at the table, whilst (I think) he injects himself. Her complete submission now to what is happening, indicated by her complete physical abandonment. Still and prostrated before him, waiting for what is to come. For me, it brings to mind a religious context: a priest prostrated before the altar in an act of complete submission to God (e.g. on Good Friday). Here, a desperate and distorted version of that but nevertheless with the same total, physical act of submission and self-abnegation. Completely unballetic, and absolutely riveting.
  24. bridiem
    I don't think it does sound ludicrous, in fact, Jan. I think there is still a perception - obviously not universal, but not that unusual either - that the ROH isn't for 'ordinary' people and that tickets are all very expensive, etc. I often have to explain to people when I say that I go to ballet there that I DON'T buy very expensive tickets and that it is possible to go even if you're not rich. However if the ROH is going to raise the cheaper ticket prices to deter people like me, it will also deter the people to whom I say this. So much for helping 'diversity'.
  25. bridiem
    I don't know, Alison; it just sounded that way to me.
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