Les Troyens, Royal Opera House - with photos

Les Troyens - Royal Opera House, 25 June 2012 (first night)

Covent Garden’s new production of this difficult opera falls short of an unblemished triumph, with a tendency to emphasise the work’s inherent weaknesses. But some high-quality singing and a couple of stunning coups de théâtre did much to compensate for a shortage of musical and visual coherence rooted in the score itself.

Historical Troy was a hot place without any Primarks, but David McVicar resists the obvious temptation. His trademark flesh isn’t flashed until Act 4, when the uncut Dance of the Blokes in Leather Aprons and Underpants proves an over-extended and risibly choreographed low point, one of several amongst the numerous ballets dotted throughout the piece.

 Visually speaking, the first half, the sack of Troy, provides most of the highs. Best is the impressive Trojan horse, a gigantic head made of discarded weapons. The mighty beast rocks and rolls its path through the gullible Trojans, bursting into impressive flames at the end of Act 2. Troy itself is a hive of 19^th century industry, sternly monochrome, filled with prim Victorian dames and be-whiskered soldiers. Quite why remains unclear. A critique of Second Empire colonialism seems to be on the cards, but nothing that ambitious is eventually provided.

 Didon’s Carthage is no more than a visual contrast, a sandy polyethnic Kasbah glittering with sequins and sari fabric. McVicar is interested only in the relationship between Didon and Énée, dismissing the political pressures bearing down on her domain. We do discover the reason for those leather aprons though – the handsomely muscled natives have been welding a metal Wicker Man together from the leftover bits of Trojan horse. On it rolls in the closing bars to impressed gasps all round.

Pappano struggled to find much more structure or narrative clarity than McVicar. Though the orchestra played very well, the pace sagged here and there early on, with the final two acts proving the most rewarding musically.

Anna Caterina Antonacci was the pick of the singers, writhing and rolling as she delivered her terrible warnings with her immaculate diction, clearly mad as snakes. Eva Maria Westbroek was in top form vocally, and it was a pleasure to listen to her, but style is not her strong point, and ultimately her Didon lacked the musical authenticity that singers like Janet Baker and Susan Graham have brought. 

It has been said that the part of Énée is so impossibly written that it needs three different tenors. Bryan Hymel provided one of them – Act 4’s lyrical love duet fell in his comfort zone and highlighted his strengths. His heroic money notes were also spot-on. Elsewhere, he fell back on a pinched, reedy tone to raise his smallish voice above the might of the orchestra. And, it’s been said before, but he’s fatally short on charisma for a leading man.

The smaller roles provided some of the nicer surprises. Hanna Hipp’s Anna was little short of sensational – her dark, velvety mezzo marks her as an Elina Garanca in the making. Ed Lyon sang Hylas’s song with exquisite beauty and Brindley Sherratt was an authoritative Narbal. But it was the expanded Chorus, splendid and indefatigable, who emerged from the five and three quarter hour marathon with the most glory.

Some practical points if you're going. The sets are built high, but all the principal action takes place centre front. If you're in a restricted view seat, what you're missing is not that important, trust me (though those on the left may have to lean forward to spot the horse).  Programmes are magazine-sized and cost £10, perhaps one reason why they'd run out of free cast sheets when I arrived (replenished at the first interval). Intervals were extended way beyond the published 30 minutes, and we didn't get out until 10.45 - I don't know if they intend to repeat that.

production photos (above) Bill Cooper / Royal Opera House

curtain call photos (below) intermezzo.typepad.com

Comments

[Donna]

McVicar usually bores me to death, but I would like to see his Les Troyens. Sounds promising.

[Simon]

Somewhat OT, but apropos your citation of Rupert Christiansen's first sentence: what are your favorite recordings of Les Troyens? Cheers.
**********************************************
Intermezzo replies - I am far from an expert on recordings since I don't listen to many, but I like Sir Colin Davis' LSO Live version and on DVD the superbly cast Gardiner Châtelet production which features Anna Caterina Antonacci.

[Andres]

If only they put one hundredth of the budget into next door's Il Trionfo di Clelia staged on the same night! But anyway, that production lacked more wit than money.

Looking forward to LT in a couple of Sundays.

[operagooner]

This review is spot on; I would add that I found the (silent) portrayal of Andromaque quite moving. Even though some of the dance sequences dragged a little, overall the production team have done a wonderful job with a difficult task. I would gladly see it again. Don't know if the symmetrical and centralised design of the set was deliberately meant to allow more people to see, but it was much appreciated by those of us at the sides!

I've never sat so close to Pappano, and was surprised how noisy he is, but at least the noises were appropriately horse-like. If that's what it takes to get the orchestra to play as well as they did, it's worth it.

[Emil Archambault]

Indeed, orchestra and chorus were in top shape. Bryan Hymel had all the notes, and as you say, the duet was spot on, but his tone was quite unpleasant. Westbroek was good, but I was put off by her large vibrato; it's the first time I heard her (live), so I don't know if that is standard. Antonacci was sensational, as expected. The secondary characters were all up to the task.

Now, Narbal sounded to me slightly amplified; would that be possible? I found him to be too loud to be natural...what do you think?

The staging did not get in the way of the singing and was spectacular, but at the same time incoherent. Why mix spears and guns? I know McVicar did the same in his Giulio Cesare (Cesar in british red military coat with a roman breastplate), but why? It's annoying and distracting. Also, I was a bit disturbed by Antonacci having to roll on the floor that much; surely she didn't need to roll all the way from centre stage to the wings on the floor?

A very pleasant evening, which I would gladly repeat. Gotta wonder how much it cost, though. And why they didn't finish the carpet on time (or was that on purpose, to show Carthage in the making?).
*******************************************
Intermezzo replies - Brindley Sherratt has a naturally big, resonant voice. Though I agree he was loud, I would be amazed if he was amplified.

[Ed]

Thanks for the interesting review. Perhaps I didn't hear it quite the same.. I found Westbroek an outstanding Didon - more so than any other I've heard live (I do like Baker on CD, but am too young to have heard her live in the role). And although I agree that Antonacci was incredibly strong, I preferred Petra Lang's focused intensity in Berlin (less histrionics in the direction too) and in that wonderful Proms performance with Davis some years back.

I'm so glad you mentioned the chorus, especially since quite a few of the other reviews have failed to. They were simply outstanding. The Paris (Bastille) performance I went to a few years ago was completely let down by a terrible choir (Polaski also lacked stamina).

Having a quick scan of the reviews, I can't help but think that this Les Troyens has been somewhat 'over-criticised'. It's also interesting to note how varying the reviews are (some rate Westbroek highly and find more fault with Antonacci - see Telegraph - and some the other way round.. and comments on Hymel..) I wonder how much of this is due to the fact that it's so seldom heard in London that each of us have quite different ideas as to what we like from different experiences of the opera.

If I was being super-critical, this fell short of my 'ideal' performance.. The production was ok (think Aida and be glad! - though that's not fair to McVicar & co., really it was good apart from a lacklustre final act - pyre included). But taking a step back, all of the singing really was top class, by the highest of standards. The chorus was peerless, and I had no issues with Pappano's tempi - I thought the orchestra was on top form. It's hard to express how much of a pleasure it was to hear this great music played so well. If anyone is still hesitating - don't - you'd be a fool to miss it.

[EC]

Yes, Pappano is always VERY LOUD! I definitely find it quite distracting, but to be fair, he does produce some exquisite sounds (through the orchestra - not his nose/mouth/face).

[SJT]

Am I the only person who can see no dramatic advantage to a horse of any shape, size or construction if it makes its thronged entrance from INSIDE the city? It's supposed to have been left OUTSIDE, in the fields and meadows everybody talks about: and then dragged in. Ah well...

Visually I thought it was an incredible mess, the first two acts looking like Tony Richardson's "Charge of the Light Brigade", the other three like a high-rent version of "Chu Chin Chow". As for Dido's blazing funeral pyre - the dramatic end-point towards which the whole opera has been (very leisurely) working all night long - I've seen bigger mole-hills in the Mendips. The preceding drop-curtain sequence struck me as bizarre, the only possible excuse for which was some furious stage rearrangement to enable a sensational coup. So imagine my incredulity when the curtain rises to reveal... the scene as we last left it, plus the two-foot high pyre. Frankly, it reminded of the descent of "Stonehenge" in This is Spinal Tap..

The whole work goes better in concert, where for some reason the extensive longueurs and general dramatic inertia and disproportion of both Acts III and IV always seem to matter less (though it would help to have a conductor attuned to Berlioz's unusual idiom, not one who treats it as if it was some sort of Frenchified "Nabucco"...)

[John]

Careful guys - Sir David might be on these pages complaining soon! ;-) The reviews can hardly have been more mixed but I agree with Ed that this might reflect the fact that it's not performed often and so everyone had their dream performance in mind. The comparison in the New York Times to Warhorse did make me laugh. I'm going for the first time this weekend and could hardly be more excited!
************************************************
Intermezzo replies - I think it's more to do with the work's inherent and fundamentally insoluble problems of structure and dramaturgy. The other big issue is one of style, in which both Pappano and Westbroek are found wanting - though I accept that not everyone will find this as problematic as I did.

[Simon Thomas]

Or could it be that there's nothing in this world that even so-called experts agree upon? Even more the case when we're talking about something as subjective as appreciation of artistic performance. The term "mixed reviews" is a tautology. There never is agreement. Surely it's time to relinquish the notion that everyone has to think the same about everything.

[Adrian Sells]

Rather a better show from ROH than we've seen for a while with great playing and some pretty good singing from the leads (note to Emil - Westbroek does sometimes sing blowsily with too much vibrato for my taste, but thought in fact she was better than usual) and most in supporting roles (absolutely agree about the outstanding Hanna Hipp).
If there are problems with the evening, it is just that it all lasts too long - Berlioz's fault, not ROH (Berlioz is no Wagner). Personally I'd axe all the ballet or, alternatively, stage it like ENO a while back over two nights, which also avoids drawing attention to the lack of dramatic unity in the piece and its general diffuseness.

[PushedUpMezzo]

You should not miss the Janet Baker version of the final scenes recorded shortly after her Scottish Opera triumph as Dido. Her magnificent declamatory style really suits the tragic heroine. Not even Crespin comes close.
Also wish we had had Graham rather than the perfectly sung, but soulless Westbroek at ROH.And such a shame that Jessye never took on Didon (I know she did Cassandre, but do tell if you know better).
**********************************************
Intermezzo replies - I second the Baker recommendation - one of the few tracks in regular rotation on my iPod

[Emil Archambault]

Thanks for the clarification!

[ml]

I agree with Adrian, staging over 2 nights or judicious cuts would have made sense. I enjoyed Brindley Sherratt's stentorian turn and am an admirer of Brian Hymel. He did his best to be heroic despite a slightly confused production. I noticed that the Greeks wore British red coats but the reference to the British Empire faded when we got to Carthage, so I don't know if the departure was worth the effort. I will definitely go again when it is scheduled again. I suppose it must be - it cost so much to create. And I will sit in CC slips to see what I missed this time. Glad it was not crucial. Thanks Intermezzo!

[Desdemona]

Fascinating to read the many and various opinions. Ultimately, it all added up to a stunning evening, with real commitment shown by all. I'd single out Ed Lyon's beautiful singing in his cameo role, beyond the more starry contenders. A real company achievement.

[Miriam]

Although I have no particular axe to grind on behalf of Ms Polaski to be fair to her I feel I should point out that at the Bastille she sang *both* Cassandra and Dido, for which purpose I think considerably more stamina is required than just doing one or the other.

Having previously only experienced the opera in that Wernicke production, which I also saw a few years earlier in Salzburg and amongst other things featured a crashed aeroplane instead of a horse, I had no major complaints about this one when I attended the dress rehearsal last Friday and am looking forward to seeing a performance later in the run.
************************************************
Intermezzo replies - I wonder if Anna Caterina Antonacci will attempt the double some time? I do think she might have made a better job of Dido than Eva Maria did - though whether she would be able to get through that as well as Cassandre is of course debatable.

[Mr Bear]

I am possibly easily pleased but I did love the whole thing (ballet and all!) and have booked to go again on the last night. Missed a fair bit of the set (in. the crowns nest) being far stalls circle right so going more central. Particularly liked the mini-carthage on a disc - possibly someone completed one of those build your own ancient city in just 498 instalments magazines and needed to put it to use.

[amac4165]

To be honest a fairly duff production - confused and incoherent. Acts 3 & 4 look the best. Act 1 & 2 make no sense and everything seemed to fall apart in act 5.

Musically - pretty ok - will look forward to the proms performance.

[Jonnnie Ash]

Was there last night - at the second performance - and through it was stunning! With all the rave reviews, I was expecting a bit more from Anna Caterina Antonacci both dramatically and musically. Of the three main characters I thought that Eva Maria Westbroek and Bryan Hymel were both outstanding (certainly didn't hear much vibrato from Miss Westbroek last evening). Their singing of the Act 4 love duet was simply superb - although I did think that Pappano took the duet a tad too fast - and Hymel's Act 5 aria was simply amazing! I thought he showed the heroic character of Aeneas extremely well and he definitely "commanded" the stage. Of the minor roles, Hanna Hipp as Anna and Ed Lyon as Hylas have to be mentioned: surely both of them have a great future ahead of them! with such a large cast, it can be easy to overlook the chorus - but there's a lot of choral work in this opera - and they were brilliant! I know some found the ballet sequences tedious, but I thought they worked well and enjoyed them. I am surprised at suggestions that the opera should be performed over two evenings - I think that actually breaks the dramatic thrust. When ENO did it a few years back, they did it as two separate new productions and there were several months I think between them, but when they revived it (and when I saw it) it was performed in a single evening. It was certainly a great evening in the opera house - and everyone involved should be congratulated on a great performance.

[justanothertenor]

I went to see the seconda last night... I agree with everything you wrote, except for Didon and her sister. Westbroek sounded blousy, with generalised tone, pitch problems, non existent diction, and lack of character. Hanna Hipp had a very difficult time of Anna, sounding pinched, lacking in legato, warmth of tone and phrasing. Both of those women sounded like they were singing in some Russian/Portuguese mix!

As far as the intervals, they were shortened. the applause began by 10:23PM

[Ed]

@Miriam - thanks for the reminder, that's a fair point that I forgot to raise! I wonder where this production is going next and what cast they'll have lined up..

[Frances]

I liked the fact that the red velvet tabs and "pelmet" had been removed leaving a much taller aperture than usual(up to the finger board of the amphitheatre) This meant that more people could see the full design of the city walls etc. I couldn't help thinking how it would have been nice if the same had been done for other productions, Salome and Sonambula come to mind, where the action at the top of the set is invisible to the large number of punters in the Amphitheatre. Is it very difficult/expensive to open up the viewing area in this way?
********************************************
Intermezzo replies - It makes scene changes more difficult. And I wouldn't be surprised if that was what buggered up the curtains on Roberto and Angela's anniversary night.

[Liane Bierau]

I completely agree with Johnnie Ash. The whole evening for me and my friends was superb, in fact the best opera evening I had for a long time and I go to the opera very often, also abroad, and enjoy my visits most of the time. But this was really outstanding for me in every respect. I found Eva-Maria Westbroeck a wonderful Dido who expressed her unhappyness extremely believable so that we were moved to tears which does not happen with me with many performances.I did not detect any vibration, for me her singing was spot on. So I have to say of all the others. I am a GREAT Jonas fan, but must admit that Hymel was excellent especially in the love duet which was incredible and the same goes for his Act V aria which was amazing, however, I must admit that he does not have much charisma. I sat in the second orchestra stalls row and was waiting for the noise Pappano is supposed to make,and I did not hear any.

The horse that for me came clearly from outside into the town,as it was supposed to have been in the Iliad as well as the Aneid was also an incredible asset to see as well as the miniture of Carthage and I also enjoyed all the dances.

[Justin Chapman]

Just back from the Sunday matinee - if you can call something a matinee that starts at 3pm and ends at 8.25pm. Choral singing thrilling - most of the soloists up to the task although I don't think Didon is right for EMW. Just think of Susan Graham or Lorraine Hunt Lieberson, and well - 'nuff said. Hymel was mightily impressive and no doubt Pappano had settled into the score more than he had on the first night. Two gripes - the Royal Hunt and Storm was too slow and the Love Duet too fast. But, oh my God - what a total stinker of a staging. La Prise de Troie was a total muddle from start to finish and the horse's head was just stupid. Carthage looked a mess too - and how lazy placing the chorus in tiers behind the main action. The last act was redolent of something Ellen Kent and the Chisnau opera would put on. McVicar seems to have lost interest in actually directing singers these days - it's all about empty-headed stage pictures. Compared to either the trail-blazing Tim Albery staging (WNO/ON/SO) in the late 80s, or Richard Jones' staging for ENO this was a lamentable affair. A total right-off. Given that stagings of Berlioz's masterpiece are as rare as hens' teeth, I can't believe that this is the best Thhe Royal Opera can muster. And I have to disagree with the above post about the dances. The torpor nearly killed me.

[Manou]

...right-on or write-off?

[Francis]

@Justin Chapman:
I share most of your Troyens impressions: the staging, though picturesque, is a shallow mess. The chorus just stands there and the main characters are left to their own devices. A total right-off, indeed (BTW, Chisinau opera wouldn't throw out the window 10 years of their budget for something like this).
I agree that Didon is not a good role for Westbroek. She is stylish, but restrained (and somewhat underpowered) and the dramatic aspect of the character doesn't quite come through. I am less impressed with Hymel than you are: very committed singing, but he sounds more verismo than Berlioz to me. The only outstanding performance came from Antonacci, who interpreted a highly dramatic and idiomatic Cassandre and whose French sounded like French, rather than esperanto. Among the supporting roles, I especially liked Ed Lyon. I thought Pappano was good, but not at his best here.
Overall, musically speaking, it didn't quite gel: it was a good though hardly memorable performance, a wasted opportunity to do justice fully to this rarely heard and very original opera.

[Justin Chapman]

It was late when I wrote this. And I'm half-Spanish so was mentally exhausted. Apologies. I should have just said it was shit and left it at that :-)

[Justin Chapman]

Yes you're spot on. I forgot to mention the terrible French (and I mean the language that most of the singers mangled, not our beret-wearing friends across the channel). EMW just looked a bit lost/surprised to be on stage as the Queen of Carthage. Lots of smiles. Little else. I wonder what Susan Graham would have made of the part? Actually I know the answer to that.
*****************************************************
Intermezzo replies - Susan Graham is, amazingly, better than ever these days. She was so wonderful at the Wigmore Hall on Friday a little part of me wept to think what might have been.

[KM]

Susan Graham was at yesterday's performance. Like you & IM I'd have much preferred her as Didon. Lucky Met! (but then they have Giordani...)

[Manou]

Congratulations to the half of you that did so well in the European championship.

[John]

I agree, Graham was fantastic at the Wigmore the other night. The complete artist - and a sexy lady to boot! :-)

[Justin Chapman]

Many thanks :-)

[Justin Chapman]

The Met has recently released 'Les Troyens' on CD (origianlly part of the 3,000 CD James Levine celebratory 100 years as music director collectors' box set). I tried ordering it from the Met Shop but they wanted to charge me $50 shipping. I thought about it, as the reason for having to get my paws on a copy is that it stars the late Lorraine Hunt Liberson as Didon. By all accounts she brought the House down with her performances. Does anyone know where I can buy it?

[Nikolaus Vogel]

Justin - I was lucky enough to be at one of those Levine performances and, though LHL's voice was smallish for the house, she has to be the most moving and convincing Didon I've ever seen in the flesh, but I never saw Baker, Veasey or Crespin, whose Didon, judging by the pirate recording of the almost complete opera from Boston was probably incomparable in recent times. LHL also sang Didon in concerts at the Edinburgh Festival which split the opera over two evenings. Even though there were no sets and costumes, my memory of those performances is more vivid than Ms Westbroek's nice and mostly sweetly sung, but not very gripping effort, just over a week ago. I suppose it all depends on what you have to compare EMW, Hymel et al, with. By the way, for those interested, there are some fascinating pirate recordings preserving the must-hear Didons of Christa Ludwig, Jessye Norman, Arda Mandikian, Shirley Verrett - all of them more distinctive-sounding than any of their commercially recorded "rivals". Crespin's and Baker's excerpts, are, of course, de rigeur. Personally, I think Sarah Connolly or Alice Coote would have been better choices for the role at Covent Garden, but Connolly is possibly too associated with the ENO Trojans to pass muster with the snobs who run Covent Garden.

[John]

I can't think of any non-trouser role in which I really rated Alice Coote, although I did love her in Cendrillon. As for Connolly, she's a thoughtful performer but to me her singing lacks guts, magnetism...emotional charge generally. She'd probably be wonderfully dignified but she doesn't do it for me. I wonder if Veronique Gens has sung it? With her experience singing Gluck and other French roles, I think she could be magnifique!

[Justin Chapman]

Alas I never saw LHL live. Della Jones was Dido(n) for WNO, but that was back in 1987 so can't really remember much about her. Yes, Alice Coote would have been terrific but as usual the Royal Opera depends too much on a small coterie of singers...hence the reason why we're lumbered with the second rate Simon O'Neil for The Ring and the new Parsifal :-(

[Francis]

For your info:
Tickets went on sale today for the 2 performances of Les Troyens (concert version), with Beatrice Uria-Monzon and Roberto Alagna (role premieres), which will take place on July 12 & 15, 2013 at the Marseille Opera.

[Felipe Cunha]

Jessye did sang Didon at the Met.

[Ed]

@Justin - get it from amazon.com (the US store) - shipping is something like USD7. http://www.amazon.com/Les-Troyens-Metropolitan-Opera-Exclusive/dp/B0064TEEBC

[EC]

I saw Beatrice Uria-Monzon as Didon in Berlin a couple of years back (Deutsche Oper) - sadly, I was not massively impressed. It could be her role debut as Cassandre - though I'm not sure that role would suit her voice well.

[Justin Chapman]

I ordered it from Amazon in the US. £18 including shipping. Can't wait :-)

[Francis]

Garanca will also debut as Didon next year (in Berlin). I would not be surprised to see a Garanca/Alagna Les Troyens, somewhere, in the not so distant future.

[John]

Does anyone know if Garanca has any plans to return to London soon? It seems like ages since her Carmen. I'm aware she's just had a baby but at this rate she won't have appeared at Covent Garden for five years! Seems a bit odd given the huge success she's had there.

[pat]

Saw it tonight.
It was terrific. In nearly all aspects. Do not miss it if you can get a ticket.

Playing and singing (incl chorus) all did justice to what I rate as a glorious score.

The production? Fine. Overly static, for sure, but otherwise I cannot fathom all the negatives. Certainly beat the heck out of watching a concert performance.

Better over two nights instead of one? Definitely not.

A great night at the opera - enjoy.

(I don't like ballet in opera - but just close your eyes and listen to the music for those bits !).

[Mike_consultant]

I tried watching the live stream from thespace.org, but all I could see was blackness. Also thespace.org streaming test ended up on a missing page. I hope the replay works.

[Simon Thomas]

Have to disagree with you Pat about concert performance. Colin Davis/LSO was infinitely more thrilling than the ROH production IMO. It'll be interesting to see how this one comes across at the Proms. Maybe for those of us who weren't keen on the production, it'll work better but I'm not expecting it to come close to Davis.

[Andres]

A Barbican recital will have to do in the short term

http://www.barbican.org.uk/music/event-detail.asp?ID=13022

[pat]

Hi Simon
I had not intended to mean the sound performance last night was better than Davis / LSO (I am a great fan thereof).
Just that the full staging added to the performance (to my eyes /ears) rather than detracted from it.
Especially in context of quite a lot of folk (i) not liking this particular staging (ii) regarding it as one of those operas which it is difficult /impossible to stage effectively.

Unhappily I don't have tickets for the Proms - I would certainly go like a shot, staged or not.

[Verulamsteven]

I too saw it last night. I thought Hymel was pretty impressive - he was giving his all, and whilst not a great actor, he was comfortable in the dramatic aspect of the part (now?) as well as the vocal. He may not have a commanding voice but it didn't sound pinched. I've only heard Kaufman in A.Lecouvrier and he sounded baritonal, in quality of voice, to my ear? - and at this rate, I would have to go to an arena/hall or Munich/Vienna etc to see him - as he doesn't see why he has to rehearse for long in London? I'd rather RoH nurtured artists like Hymel who will put the rehearsal time in, rather than disappoint the audience. EMW was fine too (no blowsiness) although I can see she is not a complete natural for the part. I'm sure Antonacci is wonderful (perhaps it was the part (emoting over serpents - disbelief broke in there)that underwhelmed me. Hanna Hipp, yes GREAT, agree definitely one to watch and Brindley Sherratt good solid bass, great sound. The WICKER man at the end went for nothing and added less, our attention was at the front of the stage, surely? And yes the expanded chorus,sounded thrilling - except that their start of the Royal Hunt had to have been amplified - clumsily over-amplofied for the first bar or so - after which it was radically turned down and became far less audible (so a disapointment). The TV cameras (about 4 of them) were in. Overall a good evening and I'm very pleased to have seen such a rarity. Incidentally - there were folks trying to sell tickets (subtly, in the visinity of the box office) - I was one of them - I'm surprised no-one had taken the risk of turning up on spec.

[Verulamsteven]

I have just been into online booking for the Prom - Royal Albert Hall. There are seats (e.g. Stalls seats) available for the performance at the Proms Seems like 999 year leased seat owners have returned their tickets?