Top price stalls and stalls circle tickets for Manon are going for a mere £80 (from £150-160) with a new Evening Standard offer.
Book on the ROH website, using the code esmanon. Don't log in first, or the discount may not appear.
The discount is valid on 24 and 31 Jan and 4 Feb only.
Gazillions still left, so don't all rush at once.
(Thanks to reader Richard.)
Thanks to all the readers who emailed me about a rare Royal Opera House discount.
Top price stalls and stalls circle tickets for Manon are reduced to £85 (from £150-160) with a new TravelZoo offer.
The price cut is valid for three performances only- 17 January, 28 January and 4 February. Book via the ROH website, using the code tzoomanon.
There are still plenty of seats left on the dates not included in this offer, so I wouldn't be surprised to see further discounts turning up later.
Manon - Royal Opera House, 29 June 2010
Following a brief flexing of her Manon-muscles in Vienna at the weekend, Anna Netrebko was back at Covent Garden on Monday night to recommence battle against Laurent Pelly's MDF and frilly knickers. Her new, bigger voice takes a while to settle, but once it did she was even more impressive than on opening night. There was one moment of danger - a near-crack on a solitary top D - but from then on she sailed through.
In fact everyone seemed to have upped their game - the orchestra sounded freer, the cast more relaxed. Vittorio Grigolo was the most changed, and entirely for the better. He reined in his opening night excesses and turned in a characterisation of some subtlety, revealing a world of vocal colour previously masked beneath can belto volume and acting skillz way beyond arm-flinging. Hope Covent Garden have secured a return booking while they can.
Manon - Royal Opera House, 22 June 2010 (first night)
Anna Netrebko and Vittorio Grigolo were, deservedly, a huge hit with the audience at last night's Manon premiere (sole sleb-spot, Rhydian, in barman-style white shirt and waistcoat).
Netrebko's saucy, knowing Manon is the architect of her own fate, and if she overdoes the eyelash-batting in the first act, she makes up for it later with a truly affecting performance. She sang strongly, the voice fuller and darker than ever before, looking gorgeous in a succession of lush Belle Époque frocks and a chestnut wig.
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Perhaps the budget cuts are really biting at the Royal Opera House. Anyone expecting the sort of detail Laurent Pelly brought to his now-classic production of La fille du régiment will be disappointed by his new Manon, as unveiled at Saturday's general rehearsal. Whether it looks elegantly minimal or half-finished is a matter of opinion - but those sets sure are spare, in contrast to the acres of cloth lavished on the lush period costumes.
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