Maestro Valery Gergiev brings his spectacular Kirov Opera to the Met to perform Wagner's Der Ring des Nibelungen. The epic four–part series forms the centerpiece of this year's Lincoln Center Festival.
You now have the opportunity to purchase tickets for individual operas in Cycle 1 of the series, co–presented by the Lincoln Center Festival and the Met. Performances take place at the Metropolitan Opera House.
Magnificent voices, monumental scenery, and a "swift and action–packed" musical backdrop make this "a Ring to match the four or five most important stagings since the middle of the last century" (The New York Times). Don't miss the chance to experience "the kind of rare grandeur that Wagnerians live for" (Los Angeles Times).
Buy Tickets Now:
Call 212–362–6000, visit metopera.org or come to the Box Office.
I'm going to the second cycle, July 16-19. Anyone else going? Music aside (I know, that's a big "aside" ;D) I'm eager to see the production by George Tsypin, who has done some amazing work with Prokoviev, specifically The Gambler and War and Peace at the Met, and the Kirov's Semyon Kotko.
His Ring has already been amusingly called "the Ring with Shmoos," a reference to the characters in Al Capp's Li'l Abner. (I'm not agreeing, just reporting the news.) Here is a review of the same production, with some cool photos, of Götterdämmerung, in Cardiff. (http://www.musicweb.uk.net/SandH/2006/Jul-Dec06/gotterdammerung0312.htm)
--Bruce
If the Met Orchestra is the Orchestra in the pit, the productions will be overwhelmingly successful. If it's the Kirov Orchestra in the pit, having heard them several times in recent years (especially in Disney Hall-A great acoustical environment), i'm sorry to have to tell you that the singing and sets better be magnificent, because the playing of that orchestra is not even good enough to be called third rate by american standards.
Gergiev is good. But he cannot walk on water.
Quote from: Iago on July 07, 2007, 11:25:03 PM
If the Met Orchestra is the Orchestra in the pit, the productions will be overwhelmingly successful. If it's the Kirov Orchestra in the pit, having heard them several times in recent years (especially in Disney Hall-A great acoustical environment), i'm sorry to have to tell you that the singing and sets better be magnificent, because the playing of that orchestra is not even good enough to be called third rate by american standards.
Both the MET and the Kirov are very good orchestras, but with rather different sound and playing styles.
However, for you that doesn't matter since you would not be able to tell them apart in a blind test anyway. You probably wouldn't be able to tell either of them apart from a Salvation Army band either with your tin ears.
Your stupid comments here are not even good enough to be called third rate by American standards.
BTW, "American" is spelled with a capital "A" here. Are you sure you really were a school teacher, not a school janitor or something like that? Judging from your writing here, as a teacher you are not even good enough to be called third rate by American standards.
Quote from: Iago on July 07, 2007, 11:25:03 PM
i'm sorry to have to tell you that the singing and sets better be magnificent, because the playing of that orchestra is not even good enough to be called third rate by american standards.
Gergiev is good. But he cannot walk on water.
Having heard the Kirov/Gergiev combination a number of times; my experience is that their output is
extremely variable. In some repertoire (eg Prokofiev's
The Fiery Angel) their performances are absolutely stunning; in some other rep (eg
Salome) the performance that I witnessed could barely be described as professionally proficient. Their season of Italian standards in London several years ago was an artistic fiasco.
Whether their NY
Ring will be first rate or something below that is hard to say; I'd bet on something far less than stellar. They are a highly suspect ensemble in anything other than the Russian repertoire.
"Highly suspect in anything other than the Russian repertoire"?
That's very obviously just biased nonsense, as if other repertoire was generally more difficult to play technically or artistically.
As if the same ensemble which was "absolutely stunning" in Prkofieff one night suddenly forgot everything the night "Salomé" was on. Bullshit.
That reflects nothing but clichéed ideas about what it supposed to be "Russian" and what not.
In fact, some of the Wagner stuff I heard from them was orchestrally highly impressive. While there was a slight hint of "Russian" sound in the brass playing (which I found actually quite interesting), they can certainly muster a whole lot more substance and weight of sound than the MET orchestra, judging from their very good, but fairly lightweight contributions on disc. Certainly that is much further away from a "real Wagner sound" (not that you would know what that actually is) than what the Kirov can offer.
I enjoy these variations as very interesting, but then I also don't have such clichéed (and obviously wrong) ideas about what this or that is supposed to be like as you do. As if this was some kind of folklore ensemble.
Quote from: M forever on July 08, 2007, 02:31:32 AM
That's very obviously just biased nonsense
Would you care to share any of your opinions of the Kirov/Gergiev combination from (specifiically) any of your
in-house experiences of those performers?
I would LOVE to be able to attend this Ring cycle.
One day my wife and I plan to travel [somewhere] to see it as its unlikely to ever be performed here :(
Just for the record, my many experiences with the Kirov have been mostly very, very positive. I've heard them occasionally when they sounded a bit ragged (probably due to fatigue) but most of the time they have sounded marvelous.
--Bruce
Well, what M says sounds like perfect sense. I did not hear them in their Covent Garden appearances, but I do recall the surprise I had on reading the Sunday papers in which they got a real drubbing for their Verdi, not just the playing but the productions and the supposed clear under rehearsal. The Russian opera, (I think it was Boris), within the run got good reviews.
It has been mentioned before that Gergiev can sale close to the wind and from what the newspapers reported, the non-Russian operas were poorly performed all round. As I was not there I am only passing on what stuck in my head, as I had assumed they would get the glowing reports they had previously garnered.
As far as the Wagner in Wales is concerned, it was given terrific reviews for the orchestral playing and Gergiev's conducting. The production was pretty much detested.
Mike
I think Gergiev's schedule is a bit over-ambitious at times. If anything, I'm slightly worried that he and the Kirov will simply run out of steam by the end of the week; the scheduling of the two cycles seems a little daunting. I mean, just doing the cycle once (i.e., four nights in a row) would be challenging, but they're doing it twice.
July 13: Das Rheingold
July 14: Die Walküre
July 15: (break)
July 16: Das Rheingold
July 17: Die Walküre
July 18: Siegfried
July 19: Götterdämmerung
July 20: Siegfried
July 21: Götterdämmerung
--Bruce
Assuming they go home on the 22nd, I wonder what they are doing on the 23rd.
Mike
I found this schedule for July on their website. They must have a great many extra players; during the New York run they have operas scheduled at the Mariinsky every night! And then Gergiev is doing The Gambler on Thursday, the 26th.
http://www.mariinsky.ru/en/playbill
--Bruce
I wonder when the Vienna Phil is on tour whether the Opera has any performances on the same basis as the Kirov? I know of stories where conductors rehearse with one set of musicians and are then confronted with a substantial number of 'substitutes'. I recall conductors taking exception to it. Of course players are called into orchestras on a part time or ad hoc basis depending on repertoire, but I wonder what sort of arrangements can be made to enable the same orchestra to appear in two places at the same time and to what extent we are hearing the authentic orchestra?
Mike
The same thing is happening right here in the good old USA.
The Boston Symphony is currently in residence at Tanglewood and has both teaching, performing (and probably recording) commitments that extend into late August.
Yet the "Boston Pops" (usually consisting of members of the BSO, without the first desk players) is currently on "tour" at various summer music festivals throughout the U.S. Good trick if you can be in two places at once. They "cover" their publicity by calling the tour group the Boston Pops "Esplanade" Orchestra, although that third word is usually in very small print.
So once again, let the buyer beware!
Wrong again, Iago.
That has nothing to do with practices like this. The Orchester der Wiener Staatsoper and therefore the Wiener Philharmoniker have enough full time musicians to man (and since recently, even wo-man in a few cases) two orchestras, and so does the Kirov Orchestra. The WP have around 150 members or so, and then they can also invite extras, of course, the Kirov has a huge orchestra, probably around 190 or 200. That can easily be seen by clicking on the link 3 posts above, then "orchestra", then "musicians". I haven't counted them, but based on how large the wind sections are, they might even have over 200. In fact, I don't think I have ever seen an orchestra with such a huge roster. Even the Gewandhaus which does full time opera and concert and which has 192 members appears to have "less" members.
Quote from: knight on July 09, 2007, 08:22:31 AM
Well, what M says sounds like perfect sense. I did not hear them in their Covent Garden appearances, but I do recall the surprise I had on reading the Sunday papers in which they got a real drubbing for their Verdi, not just the playing but the productions and the supposed clear under rehearsal. The Russian opera, (I think it was Boris), within the run got good reviews.
It has been mentioned before that Gergiev can sale close to the wind and from what the newspapers reported, the non-Russian operas were poorly performed all round. As I was not there I am only passing on what stuck in my head, as I had assumed they would get the glowing reports they had previously garnered.
As far as the Wagner in Wales is concerned, it was given terrific reviews for the orchestral playing and Gergiev's conducting. The production was pretty much detested.
I wasn't there either, but we are talking about the quality of the orchestra in general, and that is very good, without any doubt, nothing that deserves to be called "not even third rate" by a complete amateur and ignorant. Respect for the artists is the basis for any real criticism, however strict.
It is true, Gergiev's sometimes...uh...improvisational style brings an element of unpredictability in here, and that can certainly lead to less than ideal individual performances now and then, but as we all have had opportunities to hear, maybe even live or at least in live recordings, this ensemble can deliver truly outstanding results. The "spontaneous" approach certainly holds some dangers, but then it can also result in truly exciting "live" events which carefully planned and controlled "safe" performances rarely do.
After all, it is a "live" art form.
I agree about the Wagner, what I have heard from that was very impressive orchestrally. It had a slight, but not very strong "Russian" sound and feel to it which may not be entirely "authentic". But it was still musically and orchestrally very, very good and maybe all the more interesting for this "exotic" element. And you know what? They still sound more like a "Wagner orchestra" than the MET ever did. The MET orchestra is technically very good, but they don't sound much like anything. They certainly lack the depth of tone and the sheer weight of sound this music sometimes needs, and the Kirov has that, even if it is a slightly "Russian" sounding kind of weight.
Which brings us to those reviews. Neither you nor me were there, but reading between the lines, the Russian operas "great", the Italian operas "terrible", that simply can't be even if one evening can indeed be good and the next disappointing. But that sounds much more like disappointed cliché expectations, maybe about how "Russian opera has to sound" - pass, after all this is a Russian ensemble, it must be "authentic" and about how "Italian opera has to sound" - fail, after all what is "authentically Russian" somehow can't be right for Italian music. Which is bullshit of course. These Russian musicians may not be from as sunny a place as their Italian colleagues, but they are still very good musicians and they still know much more about Italian music than some newspaper critic, even though he may go to the Toscana for his summer holidays once in a while.
Quote from: M forever on July 09, 2007, 11:56:18 AM
I wasn't there
So you don't
really know what you're talking about when commenting on those
specific performances?
QuoteAfter all, it is a "live" art form.
So, as a general rule, someone who actually attended and heard a performance would have a better idea about the actual merits of that specific performance?
QuoteWhich brings us to those reviews. Neither you nor me were there
Yet, you feel that you are qualified to make comments about those
specific performances?
You're a blowhard ................ unfortunately your thoughts on this matter are blowing out of your rear end.
Sorry if what wrote was too complex for you to understand. Knight, bhodges and me obviously weren't talking about specific performances you heard but we didn't, but about the overall level of quality of the ensemble.
Your response contains absolutely no musically relevant points at all. Looks like we have another little Iago here.
Quote from: M forever on July 09, 2007, 11:56:18 AM
Wrong again, Iago.
That has nothing to do with practices like this.
Sez who? Sez you.
What you know about the Boston Symphony can be put in a thimble with space remaining for the Empire State Building.
Those of you who attend this Ring Cycle please post your reviews as it sounds like its going to be fantastic :)
Well, after the Ring cycle, this morning I feel a bit like a python that tried to swallow an entire cow at once. ;D I mostly enjoyed all of it, although it was a very mixed bag, production-wise. And after talking with dozens of people over the four nights, the audiences were clearly divided about the production, the singers, and even Gergiev and the orchestra.
I actually liked George Tsypin's production quite a bit. During all four operas, the stage was dominated by four large sculptural giants, looming over all the action as if observing it. Tsypin loves light, and not only did parts of the giants light up, there were small lighted figures (might have been people, hard to tell) that reappeared now and then. There was also a liberal use of costumes, particularly headgear, designed to glow under ultraviolet light. In general this production was brightly colored, perhaps as some have suggested, alluding to Russian folklore.
Musically, many in the all-Russian cast were excellent, like Mikhail Petrenko as Hagen (in Götterdämmerung) and Mlada Khudoley as Sieglinde in Die Walküre. Exciting in a different way were singers like Olga Sergeeva as Brünnhilde (Siegfried), whose voice is really frayed, so (according to a friend who follows her closely) she "goes for broke" since she has nothing to lose. There were many "passionate but not conventionally beautiful" moments from her and others.
Gergiev and the musicians sounded mostly very good, and I particularly liked the balance between the singers and the orchestra. It is easy for the latter to overwhelm those onstage, given Wagner's orchestrations. At the end of Act III of Götterdämmerung there was a rather alarming collapse in the brass, which fumbled around for a good minute or so, painfully out of tune. It could have been fatigue, given the ensemble's grueling performance schedule.
All in all, I feel very lucky to have been able to go (just carving out roughly 20 hours is not easy!), and I might even want to do it again sometime (after a suitable rest ;D). Will be writing up a long review (with photos) for MusicWeb and will post a link to it.
--Bruce
Quote from: bhodges on July 20, 2007, 09:43:05 AM
Well, after the Ring cycle, this morning I feel a bit like a python that tried to swallow an entire cow at once.
We
tried warning you,
Bruce ;D
Quote from: karlhenning on July 20, 2007, 10:24:25 AM
We tried warning you, Bruce ;D
Yes, well...like Siegfried, I do not know the meaning of fear. ;D ;D ;D
--Bruce
Bruce, Thanks. I should think that virtually any Ring Cycle is going to be a mixed blessing in respect of the cast. I look forward to the full review.....once your bum is no longer numb.
Mike
Quote from: knight on July 20, 2007, 10:35:49 AM
Bruce, Thanks. I should think that virtually any Ring Cycle is going to be a mixed blessing in respect of the cast. I look forward to the full review.....once your bum is no longer numb.
Mike
Yes, absolutely mixed, that's right. (And thank you for the poetry... ;D...the numbness is gradually receding...)
And now I feel like listening to some
Stockhausen...or something else completely different.
--Bruce
Bruce, what you did took courage, not only an upholstered Hintern. I think this is the way to truly become familiar with a work by totally submerging yourself in it, surrounding yourself with it, hour after hour.
I once went through that with the Ring, different venue and all that, but the submerging: LVDs of the entire Kupfer Ring, piano score on lap, one segment after the other, only interrupting when necessary for food, drink and comfort. I did sleep after Siegfried and probably dozed off now and then also. Now if I could only repeat this experiment in person, live!
Hey, I even wore a Rheingold sweatshirt from the Seattle Opera!
Looking forward to your review! :)
Quote from: bhodges on July 20, 2007, 09:43:05 AM
Well, after the Ring cycle, this morning I feel a bit like a python that tried to swallow an entire cow at once. ;D I mostly enjoyed all of it, although it was a very mixed bag, production-wise. And after talking with dozens of people over the four nights, the audiences were clearly divided about the production, the singers, and even Gergiev and the orchestra.
I actually liked George Tsypin's production quite a bit. During all four operas, the stage was dominated by four large sculptural giants, looming over all the action as if observing it. Tsypin loves light, and not only did parts of the giants light up, there were small lighted figures (might have been people, hard to tell) that reappeared now and then. There was also a liberal use of costumes, particularly headgear, designed to glow under ultraviolet light. In general this production was brightly colored, perhaps as some have suggested, alluding to Russian folklore.
Musically, many in the all-Russian cast were excellent, like Mikhail Petrenko as Hagen (in Götterdämmerung) and Mlada Khudoley as Sieglinde in Die Walküre. Exciting in a different way were singers like Olga Sergeeva as Brünnhilde (Siegfried), whose voice is really frayed, so (according to a friend who follows her closely) she "goes for broke" since she has nothing to lose. There were many "passionate but not conventionally beautiful" moments from her and others.
Gergiev and the musicians sounded mostly very good, and I particularly liked the balance between the singers and the orchestra. It is easy for the latter to overwhelm those onstage, given Wagner's orchestrations. At the end of Act III of Götterdämmerung there was a rather alarming collapse in the brass, which fumbled around for a good minute or so, painfully out of tune. It could have been fatigue, given the ensemble's grueling performance schedule.
All in all, I feel very lucky to have been able to go (just carving out roughly 20 hours is not easy!), and I might even want to do it again sometime (after a suitable rest ;D). Will be writing up a long review (with photos) for MusicWeb and will post a link to it.
--Bruce
Thanks for that Bruce and I look forward to that link :)
Just out of interest...
1. Was the Ring staged over four consecutive nights?
2. What was the start time each evening?
3. Is there an 'intermission' after each act?
4. Is there an 'intermission' during Das Rheingold? [between Scenes 2 & 3?]
5. What time was it finishing each night?
Thanks :)
Edit: I just saw that the answer to question #1 is 'Yes'. ;)
Quote from: uffeviking on July 20, 2007, 06:32:39 PM
I once went through that with the Ring, different venue and all that, but the submerging: LVDs of the entire Kupfer Ring, piano score on lap, one segment after the other, only interrupting when necessary for food, drink and comfort. I did sleep after Siegfried and probably dozed off now and then also. Now if I could only repeat this experiment in person, live!
That's not how that is supposed to be experienced anyway. It is supposed to be heard/seen on 4 consecutive days.
. . . I did it MY way . . . ;D
Quote from: Solitary Wanderer on July 29, 2007, 06:34:27 PM
Thanks for that Bruce and I look forward to that link :)
Just out of interest...
1. Was the Ring staged over four consecutive nights?
2. What was the start time each evening?
3. Is there an 'intermission' after each act?
4. Is there an 'intermission' during Das Rheingold? [between Scenes 2 & 3?]
5. What time was it finishing each night?
Thanks :)
Edit: I just saw that the answer to question #1 is 'Yes'. ;)
Yes, they did the cycle twice: Cycle 1 was on two Friday-Saturday nights, and Cycle 2 was in between those, on four consecutive nights:
Mon:
Das Rheingold: 8:00-10:30pm, no intermissions
Tue:
Die Walküre: 6:00-11:30 (roughly), two intermissions (between acts)
Wed:
Siegfried: 6:00-11:30, two intermissions
Thu:
Götterdämmerung: 6:00-11:30, two intermissions
Fri: nap ;D
--Bruce
Quote from: bhodges on July 30, 2007, 05:54:27 AM
Yes, they did the cycle twice: Cycle 1 was on two Friday-Saturday nights, and Cycle 2 was in between those, on four consecutive nights:
Mon: Das Rheingold: 8:00-10:30pm, no intermissions
Tue: Die Walküre: 6:00-11:30 (roughly), two intermissions (between acts)
Wed: Siegfried: 6:00-11:30, two intermissions
Thu: Götterdämmerung: 6:00-11:30, two intermissions
Fri: nap ;D
--Bruce
Thanks Bruce.
Quite a mission :)
I look forward to my oppertunity to experience the entire cycle live.
Quote from: Solitary Wanderer on July 30, 2007, 01:28:49 PM
Thanks Bruce.
Quite a mission :)
I look forward to my oppertunity to experience the entire cycle live.
It was fun, truly. And half the enjoyment was offstage: chatting with friends (and total strangers) and observing the crowd, some of whom were in formal wear (note: it was roughly 85°F/30°C and humid the entire week), others in t-shirts and jeans. Then there was the occasional "art project" like the young couple dressed in suit-and-tie and a red mohawk (he), and little black dress and dark blue hair (she). ;D
I would do it again sometime, definitely. Don't see "chasing the Ring all over the world" like some I know - too much music to listen to - but would like to see a different production.
--Bruce
Yes, I guess a music event like that would draw both the faithful and the curious.
At this stage I'm interested to see another DVD version after completing the Met edition. :)
Question for Bruce :)
How much were the tickets for the recent Ring Cycle?
I'm curious ???
I believe the range at the Met was from $100 (standing room) to $1,300. :o According to The Guardian, the Wales Millenium performance sold out in three hours, at £80 (standing room) to £750.
--Bruce
Quote from: bhodges on August 01, 2007, 01:53:19 PM
I believe the range at the Met was from $100 (standing room) to $1,300. :o According to The Guardian, the Wales Millenium performance sold out in three hours, at £80 (standing room) to £750.
--Bruce
Thanks for that.
Does 'standing room' mean what I think it means [shudder] :o
Quote from: Solitary Wanderer on August 01, 2007, 02:07:57 PM
Thanks for that.
Does 'standing room' mean what I think it means [shudder] :o
It does indeed! ;D All 20 hours' worth! And the Met's two cycles appeared to be sold-out.
--Bruce
Quote from: bhodges on August 01, 2007, 02:14:09 PM
It does indeed! ;D All 20 hours' worth! And the Met's two cycles appeared to be sold-out.
--Bruce
So they sell tickets for seats that they don't have ??? As much as I'd love to see it performed live, the prospect of standing through the whole thing is unattractive. :(
Quote from: Solitary Wanderer on August 01, 2007, 02:17:50 PM
So they sell tickets for seats that they don't have ??? As much as I'd love to see it performed live, the prospect of standing through the whole thing is unattractive. :(
Oh no, you buy standing room in advance, just like a ticket, so you're guaranteed admission. The standing room sections at the Met are reasonably nice: they have padded armrests for you to lean forward on, and all spots include the Met Titles (their subtitling system). There are two standing room sections, one downstairs, at the back of the main orchestra level, and one all the way up in the top tier, the "family circle."
--Bruce
Quote from: bhodges on August 01, 2007, 02:24:17 PM
Oh no, you buy standing room in advance, just like a ticket, so you're guaranteed admission. The standing room sections at the Met are reasonably nice: they have padded armrests for you to lean forward on, and all spots include the Met Titles (their subtitling system). There are two standing room sections, one downstairs, at the back of the main orchestra level, and one all the way up in the top tier, the "family circle."
--Bruce
Hmmm, interesting information. I think I'd still prefer a bum rest over an arm rest ;)
Is the concept to get more people into performances? Is it unique to a limited run like the Ring or common for high demand performances? I recall hearing that they have 'standing room' at Bayreuth as well :)
Quote from: Solitary Wanderer on August 01, 2007, 02:29:12 PM
Is the concept to get more people into performances? Is it unique to a limited run like the Ring or common for high demand performances? I recall hearing that they have 'standing room' at Bayreuth as well :)
Yes, ultimately the goal is to pack as many people in as possible. But you can buy standing room seats for any opera they do. The standing room sections are "permanent" -- always there -- so you can get them even if the opera isn't sold out.
But the thing is, with the Met's new pricing policy, the back of the balcony (the "Family Circle") is available during the week
for $15, which means that it really is affordable. I saw the Anthony Minghella production of
Madama Butterfly in the
very back row, right in front of the standing room section. It was actually great, and the sound up there is excellent (even if for the view, you really need to bring binoculars).
--Bruce
Quote from: bhodges on August 01, 2007, 03:01:07 PM
Yes, ultimately the goal is to pack as many people in as possible. But you can buy standing room seats for any opera they do. The standing room sections are "permanent" -- always there -- so you can get them even if the opera isn't sold out.
But the thing is, with the Met's new pricing policy, the back of the balcony (the "Family Circle") is available during the week for $15, which means that it really is affordable. I saw the Anthony Minghella production of Madama Butterfly in the very back row, right in front of the standing room section. It was actually great, and the sound up there is excellent (even if for the view, you really need to bring binoculars).
--Bruce
I guess thats a good idea to encourage families with affordable prices.
Thanks for the information :)
Or anyone who wants to "try out" opera! :D (That's why I don't buy it when people say things like, "The Met is too expensive," since it's really not. Same with Carnegie Hall, where I think the best seats, sound-wise, are up high.)
--Bruce
SRO! - Stehgallerie in German! - Oh Dear what memories. Wanderer can you believe I was introduced to Wagner's Ring des Nibelungen by my mother's ticket for my 6th birthday! She had a subscription for years and every time she thought a performance suitable for her very young daughter, she bought a SRO ticket for me. Her seat was up on the third balcony, not too far from my SRO and nice ushers would let me come down and sit on the step next to her end of the row seat. Against fire regulations, but so what? It's in the SRO areas where you find the most enthusiastic and also most knowledgeable people, usually music students.
If you are near an opera house, try a SRO ticket, you'll be among the nicest people! 8)
Quote from: uffeviking on August 01, 2007, 06:52:59 PM
SRO! - Stehgallerie in German! - Oh Dear what memories. Wanderer can you believe I was introduced to Wagner's Ring des Nibelungen by my mother's ticket for my 6th birthday! She had a subscription for years and every time she thought a performance suitable for her very young daughter, she bought a SRO ticket for me. Her seat was up on the third balcony, not too far from my SRO and nice ushers would let me come down and sit on the step next to her end of the row seat. Against fire regulations, but so what? It's in the SRO areas where you find the most enthusiastic and also most knowledgeable people, usually music students.
If you are near an opera house, try a SRO ticket, you'll be among the nicest people! 8)
Thats an early to the Ring :o
Sadly we don't have a dedicated Opera House in Auckland but I would happily try the SRO one day; to a short opera! ;)
I wonder if they have SRO 'seating' in Sydney?
:)
Quote from: Solitary Wanderer on August 01, 2007, 07:20:37 PM
I wonder if they have SRO 'seating' in Sydney?
:)
I guarantee you, they do; every opera house in the world has SRO! Their most loyal audience is up there; not the ones in formal attire, more likely the ones in jeans an t-shirts! 8)
Quote from: uffeviking on August 01, 2007, 06:52:59 PM
Wanderer can you believe I was introduced to Wagner's Ring des Nibelungen by my mother's ticket for my 6th birthday!
She deserves a medal for her services to education. Seriously: A mother willing to take her six-year-old daughter to the opera house, much less
Der Ring des Nibelungen? Saints among us!
This is making me nostalgic for my freshman year of college, and my copy of Wilhelm Furtwängler's 1950 La Scala
Götterdämmerung.
Not being nosey, but curious: You were up in the SRO area attending it? Must have been an experience telling your grandkids about! 8)
Quote from: Solitary Wanderer on August 01, 2007, 07:20:37 PM
I wonder if they have SRO 'seating' in Sydney?
There are usually a small number of standing room tickets available for Opera Australia performances in Sydney. The tickets are only made available on the day of the particular performance and cost $35 each (usual ticket prices range from $99 - $228).
The standing room section is at the rear of the first level of the circle; although it is a fair way back from the stage, the sight-lines are quite good.
Quote from: uffeviking on August 01, 2007, 06:52:59 PM
It's in the SRO areas where you find the most enthusiastic and also most knowledgeable people, usually music students.
If you are near an opera house, try a SRO ticket, you'll be among the nicest people! 8)
Absolutely! Some of the most passionate music lovers are in the standing room sections, since obviously they really
want to be there.
--Bruce
Quote from: uffeviking on August 01, 2007, 10:02:59 PM
Not being nosey, but curious: You were up in the SRO area attending it? Must have been an experience telling your grandkids about! 8)
Heavens, no. Neither of my parents were even alive in 1950.
It was, on CD, my first exposure to the
Ring. The discussion of your first experience got me thinking about my first experience.
Quote from: bricon on August 01, 2007, 10:17:50 PM
There are usually a small number of standing room tickets available for Opera Australia performances in Sydney. The tickets are only made available on the day of the particular performance and cost $35 each (usual ticket prices range from $99 - $228).
The standing room section is at the rear of the first level of the circle; although it is a fair way back from the stage, the sight-lines are quite good.
Thanks for that info. I wanted to go to Australia this year as they had Tannhauser at the Sydney Opera house but, alas it didn't fit in with my schedule :(
I would only really want to sit down for a concert but I'm intrigued by the 'culture' around the 'standing areas' ;)
I have done the standing room bit a couple of times. I did it for Les Troyans in Lyon and we gradually migrated until we ended up in unoccupied empty seats in the most expensive part of the house. But we stood for a couple of hours before people were allowed to take up empty seats.
At Covent Garden I have seen them be strict and move people out of seats they knew had been empty. Ditto at the Albert Hall.
Mike