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1. Will you go and buy tickets for me?
2. I’d rather go to the Drama Theatre.
3. I wonder if somebody would join us.
4. I suggest we start at 6 o’clock. The doors of the House shut at 7.
5. It’s a shame you can’t go with us tonight. What about next Sunday?
6. We are going to see a new ballet at the Bolshoi Theatre. would you join us?
7. I wonder if anybody would like to go with me to book the tickets for the play?
Role-playing
Theatre-Goer’s Roles:
1. You are calling the Palace Theatre to book two tickets for the concert next Wednesday evening. You want two seats in the circle. Check that the performance begins at 7.45.
2. You are calling the Grand Theatre about the ballet on Friday and Saturday. Find out the cost of tickets and if they have any left. Book one seat on either Friday or Saturday if you can.
3. You are calling the Grand Theatre. You want tickets for the performance of “Antony and Cleopatra” on Friday. (If not Friday, then Thursday.) You want 4 seats together in the stalls. (If there are none in the stalls, then in the circle.)
Information for the Booking Clerks/Operators:
1. You are in the Palace Theatre box office. There are plenty of tickets for the concert on Wednesday, which begins at 7.45. You accept bookings by phone but tell callers that they must come and get their tickets tomorrow.
2. You are in the New Theatre box office. There are plenty of tickets for the ballet on Friday and Saturday. You have seats in the stalls at &3.50 and in the circle at &2.50. you do not take telephone bookings.
3. You are in the Grand Theatre box office. All tickets for the Performance of “Antony and Cleopatra” are sold out on Friday, but there are a few tickets left for Thursday. But you do not have four seats together, either in the stalls or in the circle.
4. Study the booklet. What information can you get from it? Dou you find it necessary?
Eugene Onegin
Tchaikovsky
Text Shilovsky and Tchaikovsky, after Pushkin
November 26, 28
January 13, 17, 22, 24, 30
February 4 at 7.30pm
January 22 - a sign-interpreted and audio-introduced performance
'Alexander Polianichko of the Kirov Opera,.. beautifully conveying the tender melancholy of the score as well as its brilliant passages'
Michael Kennedy. Sunday Telegraph
‘Julia Hollander's beautiful new production of Onegin does everything Tchaikovsky would want his opera to do'
Alexander Waugh, Evening Standard
Eugene Onegin coasts a country house party, a St Petersburg ball and a fatal duel, but it is the warmth, intimacy and tenderness which the composer lavishes on the characters that make it not only Tchaikovsky's most popular opera. but also one of the best-loved of all Russian operas.
The composer himself fell in love with Talyana, the shy country girl whose crush on the moody. Bored Onegin is brushed aside - until they meet again years later. The famous 'Letter Scene' in which the young girl pours out her soul in a rapt admission of love is one of opera's great moments.
Alter successes at home and abroad, Vivian Tierney returns to ENO to sing Talyana. Onegin is sung by the young American baritone Andrew Schroeder. whose European debut at Toulouse in the same role won immense praise. Lensky. the friend he kills alter a senseless quarrel, is Company Principal Mark Le Brocq. distinguished in a host of roles, and the flirtatious Olga is Christine Rice, making her house debut.
Julia Hollander's traditional production is conducted by Alexander Polianichko of the Kirov Opera, whose interpretation was much admired in 1994. Michael Lloyd conducts at later performances.
Performances end at approximately 10.30pm
Cast:
Eugene Onegin - Andrew Schroeder
Tatyana - Vivian Tierney
Lensky - Mark Le Brocq
Olga - Christine Rice
Prince Gremin - John Connell
Madame Larina - Anne Wilkens
Filippyevna - Nuala Willis
Monsieur Tricjuet - John Graham-Hall
Zaretsky - Mark Richardson
Conductor - Alexander Polianichko/ Michael Lloyd (from January 30)
Director - Julia Hollander
Set Designer - Fotini Dimou
Costume Designer - Tahra Kharibian
Lighting Designer - Jenny Cane
Choreographer - Nicola Bowie
Translation – David Lloyed-Jones
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