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| - I have never paid less than $149 for a single ticket, and I always buy them in pairs.
The Roy Thomson Hall has one hell of a guy working for them in the scheduling department, because the programs they put on throughout the year is top-notch for the Country, and since I live here for now, it is good enough.
There are concertos & symphonies put on throughout the year, but in addition there are plenty of lectures by some of the pre-eminent people of our society, doyens of disciplines, enduring figure of the public eye, and people I've never freaking hear of.
The most expensive tickets are to lectures held by intellectual leaders, or leaders of other kinds. I remember a ticket going for $300+ for an evening with Connie Chung.
For that price, I'd better be playing a piano with her lying on top of it in an evening gown. If you know who Connie Chung is, you might get that joke.
I know they also sell tickets for $35, but that probably involves you standing behind a closed door putting your ears to the door, after ushering the C Section seating patrons to their chairs.
I have never been placed anywhere outside of the C Section (that sounds odd) within the one and only stage/auditorium. It's all about the experience, and I MUST enjoy the entertainment where it can be best enjoyed.
I am unhappy about the C Section extending to the Mezzanine. The mezzanine provides an acceptable view of the performance, but the sound is simply another story when I was sat on the main floor, smack in the mid-centre.
I experienced the unbelievable control of the human vocal chord only capable by the my favourite coloratura soprano; Sumi Jo. I cannot describe what I heard, but I consider the $400 price for the pair of seats I purchased to be a steal, even though it was the most expensive available.
I was most recently here for the Yuja Wang's performance of Prokofiev's Concerto No. 2. Yuja Wang is someone whom I consider the sexiest woman in Classical music, and the most incredibly daringly dressed girl in front of a piano. The sheer sex appeal was even penetrating from 20ft above the ground level, but unfortunately, that was all I was able absorb from the Mezzanine. I confirmed thrice about my seating in area C3, they assured me that it was prime seating, but simply it was not good enough. I wanted to be where the action was, where the pounding of the piano keys on her Steinway could be felt despite her incredible speedy fingers.
There is only one auditorium, one stage, and one designated washroom on either ends leading downwards. There is an area where tickets are purchased, and the tickets booth has never been fully manned. Not to my recollection anyway.
The south end underpass leads to direct access to the subway.
I truly despise the lobby being a hang-out area for all the patrons who has absolutely no consideration for people trying to move about near the main entrance.
The coat check is two dollars per item. If I pay $300 to see a performance, perhaps it is hospitable for Roy Thomson Hall to comp my bloody jacket or umbrella! I've been to the National Centre for the Performing Arts in Beijing (The egg shell), which is the most architecturally impressive structure I have ever seen in my entire life, and they didn't charge me a thing, despite having bought the cheapest seats. I don't think I'm being a socialist with these demands.
They have this thing called "Night at the Dance" annually where there is a performance, and then it is followed by mingling at their terrace. There is a big pool of water to the north side which could be better utilized for more engaging purposes, maybe like a secret garden with smaller bodies of water, but I'm no designer.
I am not a fan of their principle conductor Mr. Peter Oundjian, not saying that I don't like him. He is methodical enough, but I feel the lacking in the generalship, commander-esk, and passion driven demeanor that Internationally recognized conductors possess. I may be unfair as I am comparing him to the likes of Tan Dun, Sir Colin Rex Davis, and Tomomi Nishimoto. That is not to say he is bad, I just never been able to connect to him.
The building is more interesting on the exterior, and lacking in impressive features within. The ushers are polite, but the type of polite that is synonymous with the Canadian service which always feels forced.
The acoustics of this place can be improved for anyone sitting outside from the Main Floor C Section, and perhaps more exclusive side boxes can be considered for an upgrade to raise ticket sales for the avant-garde.
I do enjoy the performances, it is open minded towards internationally recognized talents, I just...wished there was a way for me to guarantee my regular seat! Section C1, Roll J, Seat # 26, 27.
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