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Post by Mr Snow on Apr 5, 2023 18:49:20 GMT
Great thread to revive have a like! Grimebourne at the Arcola looks interesting this summer. www.arcolatheatre.com/grimeborn/Trouble in Tahiti has long been near the top of my desire list. (Is someone here still living in a tree nearby - seem to recall it's a favourite of yours too?)
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Post by Mr Snow on Feb 3, 2023 15:04:08 GMT
Sunday Tannhauser revival at ROH. As I walked in ... So pleased someone else here has seen Tannhauser. Went last week and I thought it was towering, just immense. I've never been properly comfortable with Wagner but I went through the portal this time. Can't wait for the next experience. Casting was Davidsen / Vinke / Gubanova. The overture is the only piece of music I recall my Dad playing. I think he'd be shocked if he knew it was supposed to be so EROTIC! Just about my favourite start to any show. The previous revival was my first experience of Tannhauser and it was so moving I went back a week later. Have yet to see any other production but I seen criticism that overall its too static as they've remained true to the original stage instructions conceived for the immobile Johan Botha. However it means that you really don't miss much from the Slips. If anyone's still wavering its only £21 - best regular value in London? The music is often as powerful as it get,s but there are some longueurs (perhaps this production). Do you really need to sing so much about the upcoming singing contest? Glad you also enjoyed it. I will seek out more productions.
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Post by Mr Snow on Feb 1, 2023 22:43:40 GMT
Sunday Tannhauser revival at ROH. As I walked in I saw a familiar smiling face and started to walk over to say hello. Only stopped when I realised it was the Rev Richard Coles.
The odd thing is after 4 decades of attendance, I can only recall that experience once before. At the last revival Jools Holland very nearly got the chance to return my greeting.
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Post by Mr Snow on Feb 1, 2023 22:29:36 GMT
theglenbucklaird yes, it was. Likely to be my most expensive ticket of the year but truly marvellous. One to be remembered Mellor and I both left during the curtain call, me a couple of minutes after he did. I passed him on the top stairs. Slow, hunched, not looking after himself. He's a year younger than Wayne Sleep but could be 15 years older. I've outed him on these pages before for being "too posh to 'plaud'. Apparently his chauffeur hates to wait and he has to get all the way back to Wapping. Low life.
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Post by Mr Snow on Jan 17, 2023 18:38:15 GMT
I recently saw the new Knives Out with English subtitles switched on! No surprise didn't enjoy the film.
It reminded me that at ENO the Surtitle,s when people are singing in English just don't work. All timing is out. I'm sure I enjoyed the ROH and other OL venues just as much before Surtitles, a quick read of the synopsis and the music conveyed all the meaning I need. The ENO worked for me best before they introduced surtitles. It's an institution that has lost its way. Despite the fact it was where I developed my first love for Opera, where I've been attending for over 40 years and seen hundreds of Opera's, I can't make a case for it to continue as it presently works. Or rather doesn't.
Sadly the Coliseum is just too large for the Company to reinvent itself. The only voices we hear are clamouring for it to continue much as before, and this has been going on regularly for well over a decade. Radical change is needed.
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Post by Mr Snow on Jan 8, 2023 22:17:23 GMT
YAWNNNNNNNNNNNNNNNNNNNNNNNN
20 PAGES???
Years ago I did some work with The Princes Trust and was invited to "An executive meeting" where presumably I was meant to be schmoosed and seduced by the chance to get closer to the rotten centre of Britain. What transpired was a presentation telling us how wonderful HRH was, and don't forget he'd had awful parentage with lots of examples of how he'd suffered - all presumably with the seal of approval of himself. What goes round....
They are ALL AWFUL and ghastly bores. Ignoring them is the only way. Please stop writing about them.
Apologies if this has all been said before. but life's to short to worry about past mistakes or read 20 PAGES on this SHOWER..
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Post by Mr Snow on Dec 27, 2022 21:29:24 GMT
Why give more attention to something that just perpetuates the glory of the worst thing about Britain.
This is where meaningful change has to start.
Laughing? You should be crying...
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Post by Mr Snow on Dec 14, 2022 11:25:41 GMT
Good topic....I was always fond of the Equus wire horse heads, but joey from War Horse would do nicely. If we are talking gilm then it would be the sphere from First Men in the moon, and if we are talking costume it would be either Tippi hedrren's green suit from the Birds, or Gene Kelly's rain suit. Well as we're now including films...I have first dibs on Fred Astaire's Topper (and cane)!
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Post by Mr Snow on Dec 12, 2022 18:47:17 GMT
Looking back I find this year a bit underwhelming?
Best memories
Sondheim Memorial - albeit on screen in the other theatre. Gregory Porter Live in Brighton. Wasn't expecting that much tba. But a really warm and sensitive performer who made a modern box intimate. Cav Pag at ROH. The warhorses triumph again when Pappano is driving the Orchestra. This deserves 2 votes as we quickly went back. Edinburgh Fringe Kkumdongi Puppet Theater.. One woman and the ancient art of story telling, with basic props and puppets. This will be top of the list for future visits.
Hope next year is better.
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Post by Mr Snow on Dec 12, 2022 13:47:56 GMT
Theatre Royal Bury St Edmunds. The Legend of Robin Hood. Really beautiful and unusual theatre Grade 1 listed building which is very 'acoustically lively' i.e. loud when all the Kids participate. en.wikipedia.org/wiki/Theatre_Royal,_Bury_St_Edmunds The plot is a very light touch feminist update. - spoiler alert it seems the Legend is just that. Girlpower wins out! Sadly don't have a programme so can't big up the splendid actors who played the villainous Sheriff of Nottingham or the "Fairy Godmotherish" Maid Marion. I was part of large group and, despite the fact I don't much care for Panto I have to admit, the business is excellent and the kids are guaranteed a good time.
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Post by Mr Snow on Dec 6, 2022 20:53:37 GMT
What’s wrong with people always opening their sweets during the quietest parts of the show? I had someone eating Cadbury buttons at Moulin Rouge. That show is so incredibly loud but she always decided to eat and rustle the bag during speaking parts or other quiet moments. The next day I saw Good and the couple behind me bought a bag of sweets during the interval. As the first act was extremely quiet I assumed they would put them away once the second act began. I was wrong. They were sitting in the second row, clearly visible from the stage and I’m sure the whole theatre could hear them. Unbelievable… I have 2 theories about this. People just don't hear themselves. 1 Many people go to a show/sports events for the "loud bits". - At some sports events the compere has a mic and is always encouraging "Lets make some noise people". When things get quiet/maudlin/thoughtful....its time to refuel. Sweets/popcorn/lager... 2 When you move you are responding to some need, conscious of your intentions and oblivious if some noise results. If you fidget and it makes you comfortable, that's satisfying. You will stop moving when it suits you. Wearing noisy fabric or bangles- you're used to them therefore you are effectively deaf to them For anyone else in the near vicinity all you get the noise with no warning of when it will start again or how long it will last. Arrrrgh! Very uncomfortable for those of us who sit still and eschew sweets, popcorn oh and plastic water bottles that crack every time they are opened after they are removed from the very bottom of a nylon rucksack.
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Post by Mr Snow on Dec 3, 2022 7:53:28 GMT
I (mostly) really enjoyed it my first Yeoman.
Loved the music and the update seemed lightly done compared to most such productions. I Alexandra Oomens as Elsie was quite wonderful. Sadly the fears for McCabe's singing fully justified.
I would happily revisit.
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Post by Mr Snow on Nov 23, 2022 14:39:50 GMT
Saw this, much to like.... but...I remain ambivalent about Britten. Not sure it added anything to my understanding of the horrors of war/men/power. Excellent playing and cast - no substitutions last week.
Linbury Theatre is a nightmare to get everyone seated.
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Post by Mr Snow on Nov 14, 2022 12:55:38 GMT
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Post by Mr Snow on Nov 13, 2022 20:48:35 GMT
After swearing off reduced orchestra Wagner I plunged back in with this. Its a new arrangement for 20 players - inc discrete use of organ. And for me it's far superior to the Jonathon Dove arrangement as recently presented at the Hackney Empire - OR it not surprisingly works better in a more intimate setting. It's also the full score not edited(I believe).
No time for a full review suffice to say I really enjoyed this. It's being performed in the Grand Temple of the Freemasons Hal, in the round. this places everyone close to the excellent singing and acting (ok I didn't rate Donner). The staging is minimalist with only one brief silly moment. Being that close to singers of Wagner was amazing in itself. you can't experience that power from the stalls. overall acoustic and balance are fine. theres 2 more nights of this and then it builds over the next 24 months to two complete cycles.
The 3 members of the Wagner society sitting behind me were apparently as enthusiastic as I was and it would also make an excellent introduction to this work. Recommended.
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Post by Mr Snow on Nov 9, 2022 10:59:42 GMT
I suppose "I Have A Song To Sing, O" is one of the easiest numbers in the piece in terms of singing it, because it covers such a limited vocal range. Presumably the numbers they've cut, or cut Point from, are those that are harder technically for a non-singer to sing. Maybe the easiest, but it's my all time favourite from the G&S catalogue. The melody seems dreamily timeless to me. If that went so would I. Think I will be buying tickets to this and Rheingold and its time I saw a Glass and a Korngold opera. So that's more than the last few seasons. Seems like ENO has been in "crisis" the past 20 years or more. I have a deep, as in first, love for it but I seem to go less and less. (Have similar thoughts about the National) I just don't see anyone with vision for the Arts speaking up. I hope I don't look back and think I lived through some kind of golden age.... FWIW I would have no objection to dropping English for all productions. Staging smaller works outside the Coliseum. Making it English, as in not just London based. In fact less, better productions, in appropriate venues would strongly appeal.
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Post by Mr Snow on Oct 11, 2022 11:15:31 GMT
This is at least the fourth or fifth AIDA production I've seen and I'm always puzzled as to it being one of the most performed of all Operas. I've watched the productions of Act 1 from Verona and they are indeed stunning but there's a lot of music to follow and the action becomes more 'personal'. After all it was composed for the new Cairo Opera house - seating capacity (IIRC) 660. The last ENO one left me with the best feeling but again at the ROH it seemed like a long evening. I'd don't recall any London production of this in the past 40(!) years getting a second outing? It seems like no one wants to produce a traditional 'crowd pleaser@?
I was torn in my reaction to this. Parts of the updating were typically just silly - spoiler alert - who would jail a treasonous prisoner in their weapon store?
The great set pieces of music were undermined by the 'dances' - BUT that was surely Carsen's point - to remove the glorification of the military? This was apt at this time - apparently the production was conceived pre Covid? And that reminded me of the recent ENO treatment of the Can Can. Two of Opera's great set pieces were undermined by the production makes me wonder if they aren't better just left in a drawer?
That said the undermining of militarism was welcome and poignant. I recall someone asking why anti war films always feature lots of guns and bombing? But here I really felt that point was powerfully made...Just not sure if that's what Verdi intended at all? O Patria Mia was sung mainly from the back of the stage and it raised question of nationalism. I'm pretty sure where the Bear of Bussetto stood on that and its a position raising awkward questions in Italy and indeed Russia today.
The papers seem to have lost interest in Opera, reviews are cursory at best, and I'd welcome more thought pieces on what to make of this production in particular if it went against the story the libretto and music is really trying to tell?
Mostly enjoyed the excellent choral singing but remain unconvinced by the Opera.
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Post by Mr Snow on Sept 30, 2022 10:47:48 GMT
Also very excited. Never seen it or heard more than that one song.
Can someone recommend the best recording?
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Post by Mr Snow on Sept 13, 2022 13:02:04 GMT
Ouch. Get well soon.
I've never seen a decent Aida. Fingers crossed for this one.
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Post by Mr Snow on Sept 7, 2022 12:20:49 GMT
Well I'm all ears. It was one of those days when I felt annoyed with myself that I didn't enjoy it more. (Mrs Snow still thinks Mr Ovendon can do no wrong and if cast in Singing in the Rain, he'd walk it!) I felt the same, having been waiting since 2020 to see it, I felt I should have enjoyed it unquestioningly. Okay then, other things I wasn't sure about included:
Bloody Mary also looking very young for the role. She might as well have seduced Cable herself.
The stage being enclosed in the corrugated iron set throughout so the outdoor scenes didn't feel very outdoors. Half the nurses being played by non-white performers, making Nellie's racism very inconsistent as she seemed to have no problem working & socialising with non-white colleagues so her being horrified by de Becque's non-white first wife came out of nowhere. I realise the casting was necessary from a real-life practical point of view, because they need understudies for Bloody Mary & Liat, but from an in-universe point of view it was awkward.
Having de Becque & Cable on stage while there were on Marie Louise Island. Oddly, I found this made that scene less moving than in the other 2 productions I've seen where they were only voice overs & I can't work out why. Liat's interpretative dance. This may be because I dislike contemporary dance in general. More generally, I found myself silently yelling at Cable not to agree to marry Liat because it felt like it'd be a disaster & he'd be wrecking his life.
Ovendon has already been cast in Singing In The Rain. He played Don Lockwood in a concert performance at the RFH in 2010. As far as I recall, he didn't do any dancing.
All of the above plus There ain't nothin' like a dame may be out of step with our times, but it seemed they had 'sanitised' it and thus it lacked the expected ooomph. And I'd never noticed it before (a change of emphasis?) but the final music being a reprise of Dites-Moi (the weakest song) sent me home on a bum note. I found it a not so enchanting evening.
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Post by Mr Snow on Sept 6, 2022 16:03:50 GMT
TallPaul All the recent comments on here seemed to be pretty postitive so I didn't want to be the one who came along with a list of things I didn't like about the production. (There were a number of things other than Ovenden that I also found less than ideal.) Well I'm all ears. It was one of those days when I felt annoyed with myself that I didn't enjoy it more. (Mrs Snow still thinks Mr Ovendon can do no wrong and if cast in Singing in the Rain, he'd walk it!)
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Post by Mr Snow on Sept 5, 2022 22:20:19 GMT
Well I've always thought that Emile was the 50 something year old Hammerstein trying to say to his peer group, you can be involved, you can be relevant.
Ovendon just seemed too young AND his tessitura lacks the traditional theatrical gravity of "maturity" i.e. It's a bass\baritone part (though his big notes certainly were impressive).
And I'm only half joking when I say if he's a 'mature' man, then I'm past it.(add something about the truth being hard to take?).
But the production overall just lacked something for me and he was the obvious problem.
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Post by Mr Snow on Sept 5, 2022 18:42:03 GMT
His next question was "Why is the actor playing Emile the same age as Nellie?" Took me a while to work out why I was less than impressed with one of my favourite musicals. Loved the actress playing Nellie and (normally) love Mr Ovendon. However this is the first time I've seen it when I was older than Emile! I've been depressed ever since...
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Post by Mr Snow on Sept 2, 2022 11:31:18 GMT
but the last thing London needs is more flats that will be sold to someone who spends a few days out of a year staying in them. London needs a lot more flats. There is a housing crisis which has inflated prices and rents to unaffordable levels. Even if they are bought by overseas investors they will be rented out thus helping the overall situation. Anyway as I said above, Southwark Council won't give planning permission without conditions attached, a lot of the developments over there have to meet requirements for affordable flats, key worker flats, or they work together with housing associations. Many bigger developments are required also to provide community spaces such as theatres (in the Elephant and Castle development for example). While I see that you have a valuable role on here providing some needed political balance, I'm not sure your argument in direct reply to the comment, was built on firm ground. www.cityam.com/exclusive-130m-worth-of-homes-left-empty-in-london-alone-with-record-87731-vacant-properties/The pound is falling and more foreign money (investment?) is flooding in and all the evidence suggests developers are at least as happy to sell to overseas investors who have no intention to actually live or rent out the property. Indeed some marketing schemes have been launched in Hong Kong! A smart political initiative that could address and release a significant amount of those empty properties would be a great and timely thing. Now where can we find a smart politician? I'm also not at all sure than London needs more theatres built right now? Seems to me its more acceptable to developers to offer to include a theatre rather than include the much needed social housing element. (There's a 'new(ish)' one, near the site of Collins Music Hall in Islington, that I don't believe has ever opened its doors?). All that said I've enjoyed many productions at the Menier, I hope that it can find a way forward.
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Post by Mr Snow on Aug 30, 2022 9:57:50 GMT
Tosca at the ENO was my first and it hooked me bigtime! But dare I say it that was 40 years ago and even in the Powerhouse days it was traditional. The Te Deum scene at the end of Act 1 is still a favourite moment as the stage fills and the music builds. I can still remember being astonished. I believe Tosca was Nelly Miricioiu who seemed to sing it her whole career.
I agree with all the suggestions above. The Boheme at the Royal Opera House is a great introduction to Opera. Tosca there is also a fine production. BUT it won't be long before they go with La Traviata again. IMO just about as good a production as it gets.
For those who are considering Opera but worried at the cost the seats in the Slips at ROH offer some of the best value in London. The sound is wonderful and you can normally see 65% of the stage. Don't worry, no singer is going to perform their big no from the back of the stage!
Go, I hope you enjoy and please report back.
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Post by Mr Snow on Aug 25, 2022 10:45:08 GMT
Seen 7 shows so far: Unfortunate - 7/10 - Liked the songs, liked the characters, not a fan of all the jokes about mens genitalia- 1 or 2 are OK, but this had loads Showstopper - 10/10 - Brilliant, chaotic fun. We had a musical set on a roundabout in Milton Keynes. Ruth Bratt was particularly funny Kathy and Stella- 9/10 - Best of the scripted shows I’ve seen. Really catchy score with some great voices. Very funny throughout as well Fantastically Great Women - 8/10 - really liked this but the schoolgirl character is so unbelievably annoying. Catchy score - favourite songs were Rosa’s song and the finale. Don’t Say Macbeth - 7.5/10 - very cheap compared to some of the other shows I’ve seen, but I really enjoyed this. Loved all the musical references and one of the witches was very funny. Mischief Movie Night - 10/10 - i knew I’d love this and was right. A very funny period drama featuring a gibbon, a music box singing an S Club 7 megamix and some great action sequences Mindmangler - 8.5/10 - pretty sure this was basically the same sequence as in Magic Goes Wrong but slightly extended. Audience were brilliant for this which made for some great banter and ad libbing by Henry Lewis. If the worst you've seen is a 7 then Either You're not trying hard enough Or You need to set yourself us as a agent - I could be your first client!
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Post by Mr Snow on Aug 14, 2022 6:26:53 GMT
Puppet Pansori Sugungga is the sort of thing we wouldn't see anywhere else.
Masterful storytelling - one woman skilfully using her body, voice and puppets with great Cello backing. Delightful.
PS if anyone can explain the moral or even the ending of tale of the Turtle and the Rabbit? Puzzling, in the right way.
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Post by Mr Snow on Aug 13, 2022 7:35:02 GMT
Amateur productions: The 25th Annual Putnam County Spelling Bee - Everyone needs to see this. I saw their first performance this evening and it is absolutely fantastic. Not a weak actor on that stage, all the songs are sung well, comedic timing is spot-on. The actors become these characters. I can't recommend this show enough. Agree totally. My first time seeing this show and was a really delightful surprise. This is amateur only in the sense that it is done for all the right reasons. , one to avoid. Flesh a musical based on Burke and Hare. This is amateur for the other definition of the word. Amateur spelling: I N E P T
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Post by Mr Snow on Aug 8, 2022 16:11:40 GMT
OOPS forgotten about this.
Don't know if I let my preconceptions rule my head but ...
So I overall I enjoyed this and was glad I went.
However.
Predictably silly modern set. I can imagine a cave, a river, a forest glade, a fire on a mountain top etc with minimal stage distractions; but its much more difficult when they are all happening on bits of scaffolding that don't change at all. And either the publicity photo they are using for Siegfried aka Neal Cooper, is very old or for some reason the young hero was wearing a 'bald' headpiece?
Overall the cast were pretty good. Standout, thankfully, was Brunnhilde aka Lee Bisset, who is an amazing actress and was always the centre of attention, Her pipes are fine too!
The reduced Orchestra of 19 struggled to provide power and contrast and the the young orchestra was just a little ragged at times. Its unfair to compare them to the two other version I've seen but...they failed to take me to that higher place. The conductor didn't seem that demanding, just content to keep it moving. But as I say I may have decided this in advance, because the Audience were fulsome in their appreciation.
IN conclusion though I'm glad I went, I very much doubt I'll attend another reduced version of The Ring.
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Post by Mr Snow on Aug 3, 2022 10:07:14 GMT
My Christmas wish list
Candide Bernstein Dialogues des Carmelites Poulenc Die Fledermaus Strauss La Belle Helene Offenbach La Favourite Donizetti Trouble in Tahiti Bernstein
All of the above (possibly not La Favourite) are probably best in the Lindbury.
For the main house I echo the calls for more Strauss plus: Just about any French (grand) Opera (OK not Carmen - if it qualifies). And it seems to me Bellini has dropped in popularity internationally in last couple of decades? Time to bring him back.
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