186 posts
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Post by argon on Apr 25, 2019 19:46:43 GMT
2019/20 to be announced on 14 May. It is quite strange they have opted to announce so later this year, considering all the other big hitters in the world have already released their 19/20 seasons.
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186 posts
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Post by argon on Apr 14, 2019 10:33:09 GMT
Andy Nyman's portrayal of Tevye left me stone cold. His accent seemed to cover a wide global territory including Scotland, the USA, France, Turkey and North London. The entire cast seemed to have accents from various locations across the globe too. Nyman's singing was shaky (to put it nicely) at times, the Sabbath Prayer being a real humdinger and it really looked to me like he was generally marking the show - maybe he was having an off-night, but if so, it was REALLY off. Completely not convinced by Andy Nyman's Tevye, like above his accent morphed into varies dialects -I would add an Irish twang to the above. The weakest Tevye I have seen to date. The Savoy production was far superior but I was impressed with Stewart Clarke's Perchik. I even preferred the semi-staged Proms production a few years back to this.
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186 posts
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Post by argon on Apr 3, 2019 13:21:08 GMT
We are sorry the website is experiencing heavy traffic at the moment. Please contact the box office on: Tel: 020 7845 9300 Email: box.office@eno.org
How strange obviously ENO's attraction is bigger than I thought
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186 posts
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Post by argon on Apr 3, 2019 8:34:39 GMT
Confirmed - I was on the site at 9:00 and Diary of a Man Who Disappeared was already sold out. With only 3 performances it was always going to an uphill task, completely agree a disgrace considering the ACE funding they get. We are funding them to keep us out.
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186 posts
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Post by argon on Apr 2, 2019 18:37:02 GMT
Les pêcheurs de perles - revival Possibly ?
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186 posts
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Post by argon on Mar 29, 2019 20:39:39 GMT
Sunday 14th July 1.30 I just want to alert ballet fans as to how good this is. I've been every year for the last decade or so. Virtually everyone takes part from the school (from the very young to those on the cusp of a professional career.) It's a great chance to see the Matthew Balls and Darcey Bussells of the future. You also get to see some unusual choreography. Last year there was a brilliant version of Britten's Sea Pictures which I would love to see in the regular repertoire of RB. The whole occasion has a festive and joyous feel. Tickets go on sale online at 9.00 am 3rd April with top prices only £58. It sells out very quickly (lots of parents and family in the audience) and, for once, there's no priority given to Friends. To see the Grand dēfilè is worth the ticket price alone.
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186 posts
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Post by argon on Mar 29, 2019 18:23:26 GMT
I will not be going to any performances of the new Forza One was a Saturday matinee at the old Met in New York in 1965 with Franco Corelli and Ettore Bastianini, which was great fun to see those two big stars enjoying themselves in those two major roles.
Their duet Solenne In Quest'ora is streets ahead, Kaufmann is sounding more baritonal these days & just didn't cut it for me. The diminished contrast between his voice & Tèzier was evident in this duet which was a shame being that it's a particular favourite of mine.
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186 posts
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Post by argon on Mar 29, 2019 10:01:25 GMT
Also both opera productions in the Linbury (Berenice and Phaedra) seemed to have sold out before public booking too. Currently a few tickets for every performance of the previously sold-out Phaedra available on the ROH website Thanks for heads up
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186 posts
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Post by argon on Mar 28, 2019 13:52:08 GMT
Julius Caesar (Handel) at ENO in the early 80s with Janet Baker conducted by Mackerras. I saw her do it twice and they really don't make singers like that anymore. The rest of the cast was fab too with Valerie Masterson, Sarah Walker, Della Jones, John Tomlinson and James Bowman. But head and shoulders above everything, by a huge margin, was Verdi's Otello at ROH in 1980 with Domingo and Margaret Price conducted by Carlos Kleiber. Everything you may have read of Kleiber is true. He had a small repertoire of works that he endlessly recycled but his conducting of those works, particularly live, was in a class apart. This was easily the greatest musical experience of my life (not just opera, live concerts too.) Kleiber just took control from the first few thrillingly dramatic chords and the tension never dropped. He inspired the orchestra, chorus and singers to give an absolutely incandescent performance. I have never heard before, or since, a conductor galvanise all the forces involved to give of their best in quite such a startling and life-enhancing way. Thanks for sharing Baker, Price & Domingo they are just not made like that anymore. I'll be surprised if this cast/production break into that top 3, despite Kaufmann/Trebs presence they don't sing like that La Triviata anymore. Saw it last last night so maybe not fair since Netrebko was not scheduled, but I can't say I was disappointed with Monastyrska. The standout for the evening was Tézier his aria Morir! Tremenda cosa! ... Urna fatale del mio destino got the most Bravos & rightly so. Furlanetto was dependable & Corbelli provided his usual comical brilliance.
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186 posts
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Post by argon on Mar 26, 2019 18:11:43 GMT
19/20 season announcement has been delayed until mid-May. So no announcement any time soon! Interesting...thanks for the update tw. Suggests some last minute cancellations, artist availability etc. Let's expect some "polyfiller" productions...bring on the Bohemes, Traviatas and Magic Flutes which casts a,b,c,d!!! Add Carmen to that list
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186 posts
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Post by argon on Mar 26, 2019 18:08:30 GMT
I'm seeing their final joint performance so I have everything crossed! I've been let down twice by Jonas and also twice by Anna previously, although I hadn't realised that the only other time (in the world I think, not just at The Garden) they have ever sung together was at La Traviata 11 years ago at ROH. I was lucky enough to see that and it was absolutely sensational; definitely in my top three opera performances ever. What were the other 2 ?
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186 posts
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Follies
Mar 26, 2019 18:05:42 GMT
via mobile
Post by argon on Mar 26, 2019 18:05:42 GMT
I enjoyed that way more than I did last year. Will do full report later, but really enjoyed it, in my opinion this is the cast this version of Follies deserves and should have had last time around! But, surely, with Quast , the rest I can agree with
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186 posts
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Post by argon on Mar 25, 2019 16:29:48 GMT
I didn't even bother trying but it looked from comments online that there were very few if any tickets available when public booking opened. [/quote]
Which makes you wonder why considering the amount of ACE funding the ROH get compared to other organisations. So much for accessibility.
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186 posts
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Post by argon on Mar 22, 2019 10:59:24 GMT
Great news, option to buy a reasonably priced ticket now
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186 posts
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Post by argon on Mar 20, 2019 16:18:54 GMT
When is the 19/20 season announced?
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186 posts
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Post by argon on Mar 3, 2019 22:11:18 GMT
Always a joy to catch up with The ETO @ the Empire and better still to see a rarity, the set design & lighting worked well for the tight space. Lucy Hall pipped it for me for the singing amongst the leads & the chorus provided good support.
The ETO is certainly good value for your money, they truly do an amazing job considering the budget they have ( take note ENO ).
Well done
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186 posts
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Post by argon on Mar 2, 2019 7:56:20 GMT
Since there's been no Rossini for a few years, one of his is bound to pop up
Il Barbiere or Tell Maybe ?
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186 posts
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Post by argon on Mar 1, 2019 21:39:37 GMT
Do you mean Jenna Lee James? She wasn't the understudy, she took over from Preeya Kalidas. She was sensational. Incredible rocky belt. I saw Jenna’s understudy, Fiona Reyes and thought she was incredible. In fact when we saw JLJ later in the run I didn’t think she was nearly as good and wished we’d had the understudy again. Is this who you are meaning? I guess that's her ptwest, I completely agree she was outstanding such a mellifluous voice. I never got back to see JLJ, but I saw her in WWRY. Your comparison provides comfort to know that I didn't miss out. Thanks for the info, this board is invaluable at times.
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186 posts
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Post by argon on Mar 1, 2019 19:11:09 GMT
The narrator understudy in the Mead/Gates production at the Aldephi ( to the end of the run) was the best I've heard that role sung. Who was she ?
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186 posts
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Post by argon on Feb 15, 2019 9:16:58 GMT
Gave up on Anna no slip or gallery seats on seating plan Strange!
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186 posts
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Post by argon on Feb 13, 2019 13:52:08 GMT
I loved lots about the show a great deal, but danieljohnson14 is completely right, that bit is a serious mis-step that could SO EASILY have been fixed with a little re-writing and really SHOULD have been. Also, the best pie jar is the banoffee one, you can put that on the posters if you like. When I saw the show in NY weeks ago with Sara, Gavin and the original Ogie (Christopher Fitzgerald) in the cast, I must say I never for a moment felt annoyed or disturbed by the whole Dawn-Ogie interaction. Not only does he probably have THE worst singing voice I have ever had the displeasure of hearing in a professional production of a musical, My sentiments exactly
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186 posts
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Post by argon on Feb 12, 2019 16:53:36 GMT
but I couldn’t get past Jack’s weak/lack of singing voice, Yes,simply,his vocal performance was poor. I'm now intrigued to see the show again but with his cover on. Anybody know when his cover is on for him?
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186 posts
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Post by argon on Feb 11, 2019 8:54:27 GMT
Unlike the film the director appears far to late in the play, his input, actually, starts to generate more interest and the fact that he speaks English helps with the understanding of the material. The set was fab though considering the space they have to work with.
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186 posts
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Post by argon on Jan 8, 2019 20:52:27 GMT
I think that it's a frightful shame that we're losing the revolve! Having seen both iterations, and whilst there are some moments in the 25th staging I enjoy, I just find it to be lacking without the revolve and I think one moment really shows that: {Spoiler - click to view} The revolve turning to reveal Enjolras' body on the barricade as the music swells is far more powerful than the cart he's sans revolve. Exemplified by David Thaxton's last night as Enjolras
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186 posts
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Post by argon on Nov 30, 2018 9:49:54 GMT
Paying booking & transaction fees I get, if any business provides a service they are fully entitled to be paid for it. However, paying a transaction fee I not being able to select your own seat(only for this Pinter show) doesn't bode well for ATG justifying their fees
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186 posts
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Post by argon on Nov 16, 2018 20:56:21 GMT
Francesca Hayward cast as Victoriaurl="https://twitter.com/BazBam/status/1058129554454253568"] Any evidence of her singing out there
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186 posts
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Post by argon on Nov 13, 2018 18:21:26 GMT
Just short of three hours. I’ve seen this ‘plus interval’ timing a few times recently at different venues and its use instead of the usual ‘including interval’ is very misleading. Looking back, the Almeida were using ‘including interval’ as recently as for Summer and Smoke so it’s a change that appears to make no sense. RSC started this nonsense a few years ago. Never seen a justification for it. Noticed this yesterday on the cast sheet at the RSC McB at the Barbican. Looks like the need for more arithmetic now.
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186 posts
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Post by argon on Nov 12, 2018 16:53:40 GMT
Will the NT live have an encore showing? Picturehouse has encores on December 4th, but during the day. Haven't seen any listed at Vue, not sure about other chains. Thanks for the info
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186 posts
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Post by argon on Nov 12, 2018 12:48:10 GMT
Will the NT live have an encore showing?
Any news on a West End transfer
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186 posts
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Post by argon on Oct 22, 2018 12:54:48 GMT
I thought her performance was lacking, not cutting her teeth on the boards showed, but if she opts for more theatre work in the future she will get better. She seemed talented and her performance certainly wasn't bad but just felt wasn't at the level needed for this play. The play itself had its moments ( one in particular which will become clearly apparent when seen ) but often lacked dramatic intensity and become disengaging at times.
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