ROH 2019/2020

[underthecountertenor]

The season has been announced at last. Worth waiting for, I'd say, and I fear that my credit card is going to be taking a beating. Too many tempting prospects to list here, but Jaho's Desdemona immediately caught the eye.

The new website is not easy to navigate. I would suggest that you start by scrolling through this page: https://www.roh.org.uk/tickets-and-e...20,winter-1920

[LHC]

The season has been announced at last. Worth waiting for, I'd say, and I fear that my credit card is going to be taking a beating. Too many tempting prospects to list here, but Jaho's Desdemona immediately caught the eye.

The new website is not easy to navigate. I would suggest that you start by scrolling through this page: https://www.roh.org.uk/tickets-and-e...20,winter-1920

In previous seasons the press release giving full details of the season has been available for download on the royal opera house website. This made it easy to look through the entire season and pick out the highlights.

I have tried to look at the season today, but gave up as the current website is virtually unusable. Hopefully as a 'friend', I'll receive the season details in printed form in the next few days.

[underthecountertenor]

In previous seasons the press release giving full details of the season has been available for download on the royal opera house website. This made it easy to look through the entire season and pick out the highlights.

I have tried to look at the season today, but gave up as the current website is virtually unusable. Hopefully as a 'friend', I'll receive the season details in printed form in the next few days.

I didn't have too much trouble finding the (many) highlights from the page I've linked to above.

[Cockney Sparrow]

The new website is designed for mobiles, tablets etc? I'm about to walk over to the Box office at ROH. Having set the start / end dates on the Calendar for the next season, and selected opera, cinema and main stage as my filters, all it is giving me is performances to the end of this season ...... (Used the above link).
I'll play on a bit more, see if it can be made to work.
Normally I would wait to use the desktop at home, but the wonderful prospect of Jaho as Desdemona made me want to know who will play Otello, and Iago....

[underthecountertenor]

The new website is designed for mobiles, tablets etc? I'm about to walk over to the Box office at ROH. Having set the start / end dates on the Calendar for the next season, and selected opera, cinema and main stage as my filters, all it is giving me is performances to the end of this season ...... (Used the above link).
I'll play on a bit more, see if it can be made to work.
Normally I would wait to use the desktop at home, but the wonderful prospect of Jaho as Desdemona made me want to know who will play Otello, and Iago....

I am on my desktop. It's annoying if the details can't be accessed on portable devices.

I can help with the last bit: Gregory Kunde is billed as Otello, and Marcelo Alvarez as Iago. Pappano is conducting it again.

[underthecountertenor]

The new website is designed for mobiles, tablets etc? I'm about to walk over to the Box office at ROH. Having set the start / end dates on the Calendar for the next season, and selected opera, cinema and main stage as my filters, all it is giving me is performances to the end of this season ...... (Used the above link).
I'll play on a bit more, see if it can be made to work.
Normally I would wait to use the desktop at home, but the wonderful prospect of Jaho as Desdemona made me want to know who will play Otello, and Iago....

Just tried on my phone. On the home page menu, click 'Tickets and events,' and then click 'See all opera and music.' You then have to scroll quite a way down, but the whole 2019/20 opera season is there, after the WNO War and Peace.

Good luck!

[Cockney Sparrow]

Using no filters but just the season months as date range, I see it loads the events progressively, so I need to wait a second or more when I reach what appears to be the last event. It doesn't like the main stage filter, and using the opera and music filter brings up all the extraneous, outreach/daytime events as well.

Mostly, I'll confine myself to the faster and more capable desktop to look at this.

[Conchis]

On the whole, an overly conservative season, which does get more interesting as it progresses.

Christof Loy's Tristan should not be revived. It's even worse than the unlamented Heribert Wernicke production.

The big attraction for me is Stemme as Elektra.

[underthecountertenor]

On the whole, an overly conservative season, which does get more interesting as it progresses.

Christof Loy's Tristan should not be revived. It's even worse than the unlamented Heribert Wernicke production.

The big attraction for me is Stemme as Elektra.

If you include the Linbury, it doesn't strike me as overly conservative as a whole, though it's sad that the promised main house premieres have disappeared with Holten.

The Loy is not great, but worse than the Wernicke? I don't think so!

[Conchis]

If you include the Linbury, it doesn't strike me as overly conservative as a whole, though it's sad that the promised main house premieres have disappeared with Holten.

The Loy is not great, but worse than the Wernicke? I don't think so!

I don't understand Loy. He doesn't seem to have a 'set style' the way other directors have. That might be refreshing for some, but it just makes him inconstant for me.

His well-established production of Ariadne Auf Naxos is a box-office hit, and deserved to be. But his Lulu was basically a concert performance and his Tristan just isn't good. CG could save themselves a lot of money by just acquiring WNO's Tristan (Lazaridis?) which is a simple but effective staging, even though it's been around since 1993.

[underthecountertenor]

I don't understand Loy. He doesn't seem to have a 'set style' the way other directors have. That might be refreshing for some, but it just makes him inconstant for me.

His well-established production of Ariadne Auf Naxos is a box-office hit, and deserved to be. But his Lulu was basically a concert performance and his Tristan just isn't good. CG could save themselves a lot of money by just acquiring WNO's Tristan (Lazaridis?) which is a simple but effective staging, even though it's been around since 1993.

Absolutely agree about Loy. No consistency at all. His recent Forza was pretty good overall (I thought), but spoiled by the weird use of the grand guignol Godfather-style film footage of the shooting looming up on the rear wall at crucial moments, overshadowing the singers.

[Conchis]

Absolutely agree about Loy. No consistency at all. His recent Forza was pretty good overall (I thought), but spoiled by the weird use of the grand guignol Godfather-style film footage of the shooting looming up on the rear wall at crucial moments, overshadowing the singers.

It's unhelpful. Some directors (Konwitschny, who doesn't seem to work in Britain, Bielto, whatever maniac devised the ROH production of Rusalka) you know to avoid. Others (for me, Kent, Jones, Pelly - who I can forgive for his silly production of 'Robert Le Diable' or 'Naughty Bobby' as I nickname it, because it's a silly work, anyway) you might make a date with. But with people like Loy (and the director responsible for that appalling Guillaume Tell, who redeemed himself with a sublime Cav/Pag), you never know what you're going to get. And it's an expensive business taking pot luck.....

[underthecountertenor]

It's unhelpful. Some directors (Konwitschny, who doesn't seem to work in Britain, Bielto, whatever maniac devised the ROH production of Rusalka) you know to avoid. Others (for me, Kent, Jones, Pelly - who I can forgive for his silly production of 'Robert Le Diable' or 'Naughty Bobby' as I nickname it, because it's a silly work, anyway) you might make a date with. But with people like Loy (and the director responsible for that appalling Guillaume Tell, who redeemed himself with a sublime Cav/Pag), you never know what you're going to get. And it's an expensive business taking pot luck.....

Michieletto's (for it was he) magnificent Cav/Pag is being revived next season (again with Elena Zilio's heartbreaking Mamma Lucia - impossible to imagine the production without her).

He is also doing the new Don Pasquale - can't see any scope for frightening the horses there, but I could be wrong.

I am in the minority who appreciated his Guillaume Tell, though not without reservations, but it's highly unlikely that it'll get a second outing. Perhaps I'll invest in the DVD. He certainly falls into the category of directors I'd make a date with (together with the three you mention).

[Howdenite]

I received my Season Guide in the post today. It is, for my purposes, virtually useless, with the date range for each opera and casting, but with no specific dates and no indication of who is singing when for operas with multiple casts. So it is back to the web site when I have a few hours to spare to pick up the information I need to plan my London trips for the coming year. I have written the friends office with my opinion of it!

[underthecountertenor]

It's unhelpful. Some directors (Konwitschny, who doesn't seem to work in Britain, Bielto, whatever maniac devised the ROH production of Rusalka) you know to avoid. Others (for me, Kent, Jones, Pelly - who I can forgive for his silly production of 'Robert Le Diable' or 'Naughty Bobby' as I nickname it, because it's a silly work, anyway) you might make a date with. But with people like Loy (and the director responsible for that appalling Guillaume Tell, who redeemed himself with a sublime Cav/Pag), you never know what you're going to get. And it's an expensive business taking pot luck.....

Incidentally, was it not the Michieletto Guillaume Tell which led to the invention of the David-G 'regiemask'?