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Author Topic: Star Billing for the Horse!  (Read 455 times)
martle
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« Reply #15 on: 08:50:21, 17-11-2007 »

No, Spiros (the director) had three doves to hand. Not a man to take any chances, obviously.  Roll Eyes
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HtoHe
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« Reply #16 on: 16:57:35, 23-11-2007 »

Today's Manchester Evening News trumpets the forthcoming appearance of Bizet's Carmen, "starring Louis, the majestic black stallion". 

I couldn't help thinking of ths thread as I passed Liverpool's Empire Theatre this afternoon, Donna Elvira.  Not only was Louis the star, but on the poster I saw there didn't seem to be any mention of..er..singers!  I had to chuckle but it's actually rather sad, isn't it, to see that the major selling point of an opera production is a performing animal.

The Empire is also putting on 'Nabucco' and the main publicity slogan for this (also from the MEN) was "worth going a long way to hear".  Maybe it's my perverse mind but I couldn't help thinking: so they don't recommend hearing it here, then?  Mind you, that would be sound advice in my opinion.  Unless they've done something to improve the insulation in preparation for the 2008 'City of Culture' affair, Liverpool's only opera venue (that I know of) is plagued by the trains running behind the theatre and clearly-audible from all parts of the house I've ever sat in.
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Ron Dough
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« Reply #17 on: 17:06:30, 23-11-2007 »

Yet completely inaudible from the stage and backstage area. How strange!
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HtoHe
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« Reply #18 on: 17:16:50, 23-11-2007 »

Yet completely inaudible from the stage and backstage area. How strange!

Very odd, Ron.  I could clearly hear the rumbling sound several times during a performance of 'Parsifal' a few years ago and I was upstairs at the back.  The stage, unless I get seriously disorientated on my journey from the foyer to the seat, is actually much closer to the railway line.  Mind you, when we were further forward for the WNO's Haensel und Gretel it was wasn't as bad (though still noticeable).
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Ron Dough
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« Reply #19 on: 17:30:58, 23-11-2007 »

Yes, the stage is closer to the railway: on the other hand the foyer is more open and there are plenty of glass doors in between, so it's not impossible that the noise is coming via the street, bouncing off surrounding buildings. And come to think of it, are there not underground lines nearby? I've not played the Empire since '94, so my mind's a bit hazy on that score, but I'm sure that there are lines to the Wirral which run underneath around there. Mary? Milly, maybe?
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HtoHe
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« Reply #20 on: 17:37:29, 23-11-2007 »

Yes, the stage is closer to the railway: on the other hand the foyer is more open and there are plenty of glass doors in between, so it's not impossible that the noise is coming via the street, bouncing off surrounding buildings. And come to think of it, are there not underground lines nearby? I've not played the Empire since '94, so my mind's a bit hazy on that score, but I'm sure that there are lines to the Wirral which run underneath around there. Mary? Milly, maybe?

<<And come to think of it, are there not underground lines nearby?>>

Nail on head, I think Ron.  Now I think of it, Lime Street is the end of the line for the mainline and all the trains travel away from the Empire so the underground is a more likely culprit.  No less annoying, though.
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Reiner Torheit
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« Reply #21 on: 17:57:32, 23-11-2007 »

One of my off-season jobs was stage-managing the New Year's Day Parade in London for several years (don't all write and complain to me about the traffic congestion thus caused...) ...  on one awful year, the Parade was led by Annie The Elephant, kindly loaned by Chipperfield's Circus...  except that Annie had a bit of an upset tummy that day...  The various clowns, costume characters, and worst of all the poor "inflatable"-wranglers got dragged through it all, bodily. A charming light rain throughout the day diluted it to an evil yellow film that covered the road-surface along the entire route. All most unpleasant.  "Garfield" - an out-of-work baritone from the Glyndebourne chorus, who'd only ever agreed to do it for a laugh and a few pints, was seen at the dispersal enclosure covered in elephant ordure from head to toe, having slipped over in it several times, and was heard muttering "this is the last bloody gig I ever do with you, Reiner Torheit, I'm covered in bloody elephant shit, and you are standing there laughing and taking photographs?".  Trying to explain to Sketchley's about the "special cleaning job" we had for them was slightly surreal too...

I'm pleased to report that the poodle I gave to Madame Silberklang in DER SCHAUSPIELDIREKTOR was a model of good behaviour by comparison - neither widdling unwantedly, nor joining in with that very long and complicated trio either Smiley

BTW the Tchaikovsky Concert Hall here was originally built as a Circus in the C19th,  and so no-one worried about the noise of the Moscow Metro being a problem as they cheerfully tunnelled Mayakovskaya Station directly underneath the auditorium.  Despite extensive work to lessen the rumble with baffling, trains can be distantly heard every 2 minutes in quieter moments....
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
Reiner Torheit
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« Reply #22 on: 22:18:47, 24-11-2007 »

Meanwhile, new horizons in productions of AIDA become possible if these three talented elephants can be signed-up to participate:

http://www.bbc.co.uk/mediaselector/check/player/nol/newsid_7110000/newsid_7111400?redirect=7111485.stm&news=1&bbwm=1&bbram=1&nbwm=1&nbram=1&asb=1
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
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