Money off everything

Or so it seems. Thanks to the readers who sent in the following offers:

• The Guardian are offering 30% off two operas at the Linbury Studio, The Crackle by Matthew Herbert and Through His Teeth by Luke Bedford. Book online on the ROH site, entering the code Crackle for the Matthew Herbert offer and Teeth for the Luke Bedford offer on the top right hand side of the booking page. If that doesn't work, you can also book over the phone on 020 7304 4000, using the code GuardExtra. 
• For 50% off Concertgebouw concerts with Mariss Jansons at the Barbican Hall on 3, 4 and 5 April, use the online code 05044. 
• Finally, ATG tickets have 40% off a selection of Upper and Dress Circle seats for various ENO operas - book on their site.

Booking some of these in advance at full price is a mistake I won't be making again.

Comments

[JC]

Concertgebouw for 50% off??? Must be because of the Bruckner programming.

[jurgen Werther7]

Does any of this heavy discounting suggest that our economy is in not quite the robust shape that the coalition and the media would have us believe? If we are all struggling to cover the basics then recreational activities must suffer. Still, all the uber rich oligarchs for whom full price must just be loose change are here to fill the apparently empty rows of seats aren't they, or is it just property that rings their bell?

[inter mezzo]

I think London also has an oversupply problem. There are typically 5,000 to 10,000 seats available for classical/opera events every night - and statistics show half the audience only go once a year.

[Nikolaus Vogel]

The "mid-season sales" in Oxford St - ie nothing being sold at full price in the shops patronised by ordinary working people - tell the same story, Jungen Werther. I was in Leeds a few weeks ago midweek and I had Marks and Sparks virtually to myself between 6 and 7 before going to Opera North's Fanciulla.

[Nikolaus Vogel]

I don't think Bruckner is necessarily a turn-off. People went to the Barenboim Berlin Staatskapelle performances, but that was a couple of years ago.

[SJT]

The problem is site-specific.

Bruckner in the Barbican is like playing Strauss in a shed, acoustically-speaking.

[Santipab]

As always, it's the combination of repertoire, orchestra and conductor and Jansons is not known for his Bruckner even though the Concertgebouw certainly is.