Many happy returns, Don Basilio!
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It's sold out now, chiz, chiz.
My impression, if you can have an impression of a theatre that's only been open a few months, is that it's always worth ringing the Box Office to see if anything has come back.
Contrary to what I've heard previously, there are still tickets available for L'Ormindo at the Sam Wanamaker Playhouse. Of course they tend to be either the very expensive ones or the standing/restricted view ones, but if you can swing it either way please do come see it. The dress rehearsal last night went down a storm. I think it's a very very good show with excellent performances all around - and the production beautifully demonstrates how the theatre itself can be far more than a historical curiosity.
(Say hi in the Swan afterwards if you're there - I'll probably stop there after most shows.)
Quite so, Don B; indeed, charming and fascinating though the SWT is as a place to visit, seeing a play there makes you very aware of the advantages of modern theatres. The SWT seems to cram the audience into any space available, with little regard for sightlines*. And since the theatre is even smaller than I imagined this reduces the number of seats with perfect views – indeed it might be that, like its parent theatre, the SWT has no seats with perfect views.
Well done, IGI. Indeed, London is the best place to be in your prime years - I lived there for more than 35 of them at Crouch End, Swiss Cottage, Maida Vale, Holland Park
Handel Op 6 Concerti Grossi, played by Il Giardino Armonico. Bracing, like the weather outside.
On the other hand (as I'm sure you know!) they're written with intimate attentiveness to the intonation and stress patterns of spoken Czech - I mention this having recently read an extensive article on his speech-melody obsession, containing a selection of his rather fascinating transcriptions into musical notation of scraps of overheard conversation, street-cries, bird- and animal sounds etc.
Thanks, IGI. I suppose it's conceivable the brochure contains the same mistake as the website. I have known this to happen though it really would be a 'sack the proof reader' case if it has happened here.
Sung in English with surtitles in English (and Welsh in Cardiff and Llandudno).
What are WNO playing at? They don't even credit a translator and this is the only piece in the season, as far as I can see, not being done in the original language. Or am I showing my ignorance - is there an alternative English version created with the composer's co-operation? My DVD just says Libretto Grete Weil after Abbe Prevost and Wiki mentions an intermediate German piece: opera in one act by Hans Werner Henze to a German libretto by Grete Weil after the play by Walter Jockisch, in its turn a modern telling of François Prévost's Manon Lescaut.
Half-price-ish on top seats for the RO's "Manon": http://www.travelzoo.com/uk/entertainment/uk-shows-events/-85-Top-Royal-Opera-House-Tickets-Reg-up-to-156-1650417/?utm_source=top20_uk&utm_medium=email&utm_content=1650417&utm_campaign=uk_top20_2013_52_deal%3a1650417