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trained-pianist
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« Reply #1875 on: 17:57:38, 29-05-2007 » |
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t_i_n,
don't worry about breaking up or not getting birthday cards. I was popular and unpopular and it really doesn't matter. After a while you find people that like you for what you are.
But before that happens one meets many wrong people.
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Jonathan
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« Reply #1876 on: 18:02:01, 29-05-2007 » |
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Just don't mention HPLCs...  |
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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A
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« Reply #1877 on: 18:14:52, 29-05-2007 » |
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Well Il G I , I 'booked' a ticket online for 'Death in Venice' at ENO, the final page gave me a booking number for about 2 seconds then disappeared but there was the promise of an email.... not arrived. So I phoned to see if they could help.... 'Someone will be with you as soon as possible' then the message changed to 'We are an independent orgnisation helping out at busy times.. we have 30 tickets to sell.....' At which point I gave up. So I checked my bank account to see if the amount had gone out of my account , the last date that was updated was 25th ... so.... am I going or not? have I lost a lot of money or not? Who knows?!!! A |
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Well, there you are.
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Il Grande Inquisitor
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« Reply #1878 on: 18:24:21, 29-05-2007 » |
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I booked two tickets from ENO recently, within minutes of each other. Two emails arrived instantly. One envelope, for Death in Venice, arrived two days later, but no second envelope (Kismet). I waited a few days. Nothing. So I emailed to explain the problem and got a curt reply saying, basically, it's probably got lost in the post. If it hasn't appeared a week before the performance, call us and we'll issue another one which you can collect. Strangely, a couple of days ago, a second envelope arrived..postmarked for the day before! Hope you enjoy Death in Venice, though. I think it's a really good production and Bostridge is in fine form.  |
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« Last Edit: 18:28:04, 29-05-2007 by Il Grande Inquisitor »
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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A
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« Reply #1879 on: 18:26:13, 29-05-2007 » |
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Thanks for the information on Bostridge ( my hero... dare I admit it?!!) I just hope I will get my ticket  Cheers, A |
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Well, there you are.
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Jonathan
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« Reply #1880 on: 20:29:36, 29-05-2007 » |
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ARGHHHH!!!! More Liszt based annoyance - just found another 3 CDs of 2 piano / piano 4 hands music I'd never even heard of - thanks to a link from this site!!! Even more irritating and I can't afford to keep buying them all having just bought a new car. 
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Best regards,
Jonathan
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"as the housefly of destiny collides with the windscreen of fate..."
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trained-pianist
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« Reply #1881 on: 20:33:08, 29-05-2007 » |
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What is it Jonathan? What are they playing?
You can find solace in fact that I can not afford it too.
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Don Basilio
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« Reply #1882 on: 10:28:51, 30-05-2007 » |
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I booked two tickets from ENO recently, within minutes of each other. Two emails arrived instantly. ne envelope, for Death in Venice, arrived two days later, but no second envelope (Kismet).
Hello, Stranger in paradise. I was wondering whether any member would be going to Kismet. It's the sort of thing that would make the old guard on the R3 board ballistic. I'd love to know what you think of it. |
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Il Grande Inquisitor
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« Reply #1883 on: 10:48:15, 30-05-2007 » |
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Morning, DB!
ENO have ventured into musical theatre quite a bit lately - some Bernstein (I think Candide is due next year, to which I'll definitely be going). I like the score of Kismet and will be interested to hear what Michael Ball makes of the role of The Poet/Hajj. Will report back...
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Ron Dough
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« Reply #1884 on: 11:51:31, 30-05-2007 » |
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Ball as Hajj?  The last London revival had John Reardon - a real singer, (Schaunard in the Beecham Bohème, Nick Shadow in Stravinsky's own recording of The Rake's Progress), a fabulous performer I never tired of watching (I was in it, incidentally). Keenlyside would have been an excellent choice, but Ball? Just about as logical as casting Robbie Williams as Parsifal, I 'm afraid.... |
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Il Grande Inquisitor
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« Reply #1885 on: 11:57:15, 30-05-2007 » |
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Ball as Hajj? I know - on my recording, it's sung by Samuel Ramey! 'Twill be interesting, but I shall keep an open mind... Who else was in that Kismet cast? |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Ron Dough
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« Reply #1886 on: 12:33:11, 30-05-2007 » |
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Joan Diener (original cast) and Christopher Hewitt (original London cast) as Lalume and Wazir: Lorna Dallas and Clifton Todd as Marsinah and the Caliph. Rosemary Ashe was among the singers, and the dancers included one of the original Pan's People girls. It was directed by the première director, Albert Marre, and the original choreography was recreated by two of the first cast Broadway soloists. The conductor was Alexander (Sandy) Faris.
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Il Grande Inquisitor
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« Reply #1887 on: 12:36:57, 30-05-2007 » |
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And was this at ENO? I don't know what sort of history they have of staging musicals. It will be interesting to see the sort of crowd this production draws, as Michael Ball is being used as the main marketing focus.
Alexander Faris is a name I recognise from a Ketèlbey recording.
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Jonathan
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« Reply #1888 on: 12:54:51, 30-05-2007 » |
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What is it Jonathan? What are they playing?
You can find solace in fact that I can not afford it too.
Hi t-p, They are playing Via Crucis in the 4 hand arrangement, also the Festpolonaise for 2 pianos, Gaudeamuus Igitur for 4 hands and lastly, the Grande Valse di Bravoure also in the 4 hand version (it's 3 different CDs). Suppose I'll just have to be patient. |
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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Ron Dough
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« Reply #1889 on: 13:03:36, 30-05-2007 » |
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No, IGI, at the Shaftesbury, spring/summer 1978, not a very long run in a theatre even now notoriously difficult to sell: I actually left ENO to do it. Sandy Faris was repsonsible for much of the old Sadler's Wells lighter fare: the Offenbach and G and S, for example. At that point ENO's sole venture into musicals had been Kiss Me Kate, which would have been around 1970, though not long after I left there was a Seven Deadly Sins with Marti Webb, and later on a highly regarded Pacific Overtures.
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