Jacqueline

Do you know if this is because she is ill or there are other reasons? Her website makes no mention of her not appearing but the site is not known for its regular updates, although this one might be considered to be quite relevant!! Thank you for any info in advance.

I also found the programme very interesting and a wonderful oasis in all the seasonal dross. What a fascinating man he was, profound and religious but with the capacity to think beyond the doctrine. I thought his attitude to death was something I would like to aspire to. I love his choral music, although I suppose like many others, I really only became aware of it after Diana's funeral. I still find Song for Athene moving, particularly in the context of the funeral, with the sound of the regimental boots slowly marching as she was carried along. The same at the beginning when she was carried in to the Funeral Sentences. What a strange event it was, a mixture of great and toe curling moments. Much like her life in a way. I liked the way Tavener was allowed to speak for himself, as so often these programmes are more about the presenter than the subject. Something I think Brian Sewell commented on recently, with regard to art shows. I agree some pieces of music have tremendous power to move, whatever their association. I was interested to hear how Tavener used the full range of the voice and I can imagine he is difficult to sing but very rewarding when it goes well. LinMM, I don't know what your collection includes, but you could look out for the CD I have, which is a very good recording of various pieces by the choir of St John's College, Cambridge. It is from Naxos and called 'John Tavener Song for Athene, Syvati and other choral works'. The code on it is DDD 8.555256 if that means anything. It has Funeral Ikos and The Lamb as well.

Just watched the programme on iplayer. It was an interesting programme, with lots of footage of her career, from early days in gymnastics and ballet, then onto her time with Nureyev, the RB and onto the modern stuff. I like her rather laid back style and sense of humour. She gives the impression she is totally at ease with herself and content that although her career as a dancer is coming to an end, she did it how she wanted! The middle section of the programme was about her involvement in environmental issues, which included some footage of man's inhumanity to man and beast, shocking and horrible to see, even though we know it goes on. I greatly admire the people who have the guts to stand up against this horror and Sylvie is a wonderful spokesperson for them. We then returned to Sadler's Wells and footage of prep and performance of 6000 Miles Away. I have to admit I did not enjoy this show, in fact I loathed it. However, I suppose as she says, people interpreted it in different ways, one of which was to see her role in the third piece as a woman getting older and reflecting on life. So, it was a fitting end to what could have been a much better programme if it had been on for an hour. Giving it half an hour made it seem rather truncated, with a little bit of this and a little bit of that all wedged into 30 minutes. The early footage of her reminded me of what a fabulous dancer she was and I have just received my DVD of Push, which I am looking forward to, as I loved that show.

Thank you to Bluebird and Amelia. I look forward to having a good google later! This sounds like the lady in question. I am sure Mrs Wozniak is lovely too though!!

Thank you Bluebird. It is the programme I was referring to! As you say, the ballerina's name produces no google results. I tried it as soon as I read your reply, before you edited it! I also tried the Polish National Ballet website but again, nothing. I am intrigued now. She must be somewhere! Meunier, I wonder, having seen the production in Warsaw, does the name Irina Surniewa mean anything to you?

I am after information again, from anyone with a better memory than mine!! I expect readers will recall a South Bank show, some years ago, featuring Irek Mukhamedov's production of Swan Lake with - I think - the Polish Ballet. I remember writing to the producers at the time, saying how much I enjoyed the programme but was told that the ballet was not available as an entire recording. I remember the excerpts being stunning, Irek's choreography was beautiful as was the ballerina. It was all pared down to the story, the music and wonderful dancing, not in a minimalist way, but without all the clutter and over the topness of other productions. I would love to see it again somehow, and to know the name of the ballerina. Can anyone help with this? Thanks in advance.

Wulff, that's a shame isn't it. As you say, we are supposed to be a nation of garden lovers. I wonder about the mentality of people sometimes. If there is nowhere to put dirty glasses etc and no-one comes round to collect, why not just take them back inside and leave them on the bar or on an empty table. I suppose people think why should they? It's the same sort of mentality that thinks a polite request to turn off mobile phones or not talk during a performance doesn't apply to them. Some people have a strange attitude towards clearing up after themselves in this country, as though it is not our responsibility even to show some initiative or care for the environment. One only has to walk through the park after a sunny day and find it awash with litter. As for garden lovers, what about the land in general lovers. Did you see the state of Stone Henge after the solstice?

Bruce, I wondered whether it was just a coincidence that my comment reappeared on the ROH site, after I sought advice here. While it was largely critical, I only reported what I saw and did so politely, and the comment has reappeared in its entirety, so it cannot have contravened their policy. I had wondered if the lack of response was due to the matter being given due consideration, but the brief and inadequate reply makes it clear that is not the case. As a fairly regular visitor to the venue, and one who has spent a considerable amount of hard earned money there over the years, I feel there are a number of ongoing issues that need attention. But their attitude towards complaints or anything negative is very frustrating. Not much different to any other large, complacent organisation I suppose. It seems to be a case of ignore it and it will go away. I suppose one can always vote with one's feet.

Many thanks for the replies. I looked at the ROH site yesterday, and found my comment had reappeared! Along with a reply, which while hardly adequate, is at least a response, dated almost a week after I posted. There is an apology for my 'experience' and apparently my comments have been passed on to the front of house team.That would seem to be an end to discussions as far as I am concerned. I don't intend to follow it up as life is too short really. On my next visit, I expect the place to be pristine!

I am wondering if anyone can advise me. Recently the ROH website had a piece about a herb garden on the Amphitheatre terrace. I left a polite comment along the lines of how it is indeed a pleasant place to go, but on my most recent visit, I had been somewhat dismayed at the state it was in. Such things as dirty, stained upholstery on the seating, dirty cups and glasses lying around etc etc. I felt that whilst promoting the herb garden and encouraging people to visit, it is important to ensure that the terrace is fit for purpose, at the very least clean. I had been attending a matinee of Mayerling and was an 'early bird' that day. As it became busy, some staff did come out to clear tables. My point is that the area was not clean and ready for business to start with. I didn't say anything at the time, as I was not feeling particularly well. Had I been up to speed, it would have been a different matter. Anyway, to get to the point, my comment did appear beneath the article but soon disappeared. I do not know why it was removed as there was no explanation. I gave it a few days, in case it was being passed to the relevant person. But heard nothing. I then sent a message via the site, to the relevant department, asking why my comment had been removed and why they appear to be ignoring a customer complaint. Again, four days later, not a word. A week has now passed. Should I just leave it, I feel disinclined to do that on principle. But who to contact, customer services? What does one have to do to get a response?

MAB, I couldn't agree more. Irina is truly a gem. The first time I saw her was at the Lyceum in Sheffield, on the SPBT annual tour. The production was Swan Lake and as is often the case with touring companies, the stage wasn't really big enough. There were some clearly talented dancers and the show rolled on passably. Until the arrival of Irina, at which point we entered another world. She was stunning in every way, beautiful, graceful and utterly compelling as Odette/Odile. The audience even stopped coughing. Since then, I have been lucky to see her on a number of occasions, last one being her Bayadere at the Coliseum, which is now a while ago. I have exchanged some emails with her in which she hinted at possible plans to return to England next year, but the best place to look for tour news is her own website. She and the company seem to tour France quite extensively.

I was also referring to the clapping by the soloist, rather than from the wings. I didn't hear that. Beryl H, that is interesting about Russian custom. I guess Sylvie claps her hands because she does it the Sylvie way. If there is no actual sound of clapping, then the mere touching of palms is indeed more graceful. I have seen a version where the dancer did the action and someone in the orchestra did the clapping, and they did not coincide.They do give out free boiled sweets at the ROH. You have to ask for them and if you ask the right person, you get lots! Some react as though you are asking for money!Unfortunately the sweeties are wrapped in rustly paper!

Aileen, I agree about the strangeness of The Firebird coming across. The applause at the matinee I attended was also a little muted, as if to say what was that about? Should the clapping in Raymonda be audible? I think it makes more sense if it is, as in the Sylvie Guillem version. I don't think Zenaida's clapping was audible, or if it was, it was lost in the coughing. As for the cast change slips, I did get one just before I went in but there was no announcement and most people around me were unaware of the change. I don't know if this is old news, but I asked in the shop when the online version will be available again. Apparently the problem is something to do with the payment system, which is currently going through twice and as they assume most people won't want to pay twice, the difficulty is still being resolved.

What a good idea at Birmingham Hippodrome to give out tubs. The woman next to me could have unwrapped her sweets before the performance and had them ready. She repeated the unwrapping just after the start of In The Night, when there had just been a half hour interval. I am also mystified as to why people cannot get through such a relatively short period without refreshment. I suppose we live in a society for which constant grazing is the norm, no matter the location or timing. Coughing and hacking through the music does seem to be compulsory, as if it's only the music so it doesn't matter. I hadn't been to the ROH since May, and although I have noticed this before - how could one not - last Saturday was the worst I can remember. BillBoyd, I am sorry you found my comments about Nehemiah Kish 'very offensive'. They are just my opinion, based on having seen him a few times now.

This was a terrific triple bill, three very different pieces but thoroughly complimenting each other. I particularly enjoyed The Firebird as I love the costumes, colours and imagery. I thought Itziar was fantastic as the bird, she moved beautifully and didn't go in for the wild gurning that sometimes ruins the flow. Gary Avis was really creepy as Kostchei, I loved his finger curling. I wished he could have pointed them at the audience, as the level of coughing and general noise was unbelievable yesterday afternoon. The subtlety of the overture was almost completely lost in the relentless coughing and hacking that started on cue with the music.The woman sitting next to me kept trying to open something papery, then said sorry, then did it again and I just thought what is the matter with people? Meanwhile, back at the dance, In The Night was delightful, beautifully costumed, lit and accompanied on the piano. Sarah Lamb was gorgeous, so light and ethereal. Marianela was replaced by Zenaida and partnered by Nehemiah Kish. I am sorry to say he just doesn't do it for me, he has no real stage presence or zest and it is a shame that a dancer so elegant as Zenaida appears not to have a worthy partner. I know it is partly a height thing but she is in a different class altogether and there were some rather wobbly lifts.The part at the end where all three couples gather, rather highlighted the height difference. Alina and Zenaida together from the back looked quite comical.Onto Raymonda, again beautifully danced, costumed and interesting to see some Nureyev choreography. Zenaida shone-quite literally in that costume-and appeared to be enjoying herself. All in all, a very entertaining afternoon, full of contrast and colour. But oh, the audience!

Thank you for the info Mrs BBB! I had a little look at Itziar's website which contains a number of pics of her as Firebird, and there are some clips on YouTube. It doesn't give the company, at least I don't think it does, but I assume it is Leipzig. She appears to be quite a tall dancer, not that it matters, perhaps she is just long of limb, she is certainly fleet of foot. I love that Firebird costume.

I was wondering who might replace Lauren, it seemed only a matter of who, not whether. I have seen Itziar a few times but cannot remember anything about her. Is she likely to be a good replacement? I am really looking forward to this triple bill as I have not been able to afford to go to the ballet for a while. Does anyone know if there are any other cast changes in place or on the cards and why is the ROH website so woefully slow to update? I am particularly looking forward to seeing Zenaida in Raymonda. If she drops out I will scream.

Ok ya! as Darcey might say. I won't be passing that way until December, when I am hoping to see the Firebird triple bill. Apparently the on-line shop is still being redeveloped? Is there something awry with the times on these posts?

Just received my copy of the RB Yearbook 2012/2013. I think it is the best yet, full of really good photos and information. I was wondering if anyone has been into the ROH shop since it reopened. Is it better/worse/no different? I was getting increasingly dismayed at the amount of ludicrously overpriced 'souvenirs' on sale before.

As far as I can recall, he was talking about bringing ballet to a wider audience via cinema and guests at the ROH, such as Boy George. This was interesting after the recent discussions on this site,regarding elitism and snobbery. He also talked about the hard work involved in becoming a ballet dancer, the hours of intense training and rehearsal. He was asked about spotting talent, such as the next Darcey. He replied that a dancer evolves over the years, and it is about at the age of sixteen that the level of dedication and talent required,becomes apparent.What it takes to be a star! He bigged up Swan Lake, which of course starts next week and that is all I can remember. If I have forgotten anything or made a mistake, my apologies.

I think the recommended price is £30 and it is on Amazon for £19 or thereabouts, which is what I paid for it. It is a lovely book, full of photographs of Darcey in various performances, with various partners but primarily, as Alison say, Bolle and Cope. It is interesting to compare with Sylvie Guillem's Invitation, which is a very different book, as indeed, Sylvie is a very different person. I couldn't help thinking that the Darcey book rather lacked imagination, photo after photo from the same ballet or different productions of the same, it all started to get rather repetitive.There is very little of her in repose,rehearsal or anything out of the ordinary. The Sylvie book is almost an art book by comparison.

Thanks for that Alison. I ordered my copy from Amazon a while ago. Did anyone buy the new Darcey book? I wonder what people thought of it. I don't think it has been mentioned/reviewed on this site.

I agree. Some of the lifts were rather wobbly and Darcey seemed to be moving quite carefully, as though she were afraid of injury or was a bit stiff. I have posted elsewhere on this so I won't bore with repetition, but I have since seen an interview with the producers/designers/whatever of the closing ceremony and they are quoted as saying they didn't want to overthink what they would do. Presumably, they decided to go the other way!

I sat up 'late'to watch the ballet segment and have to say I was very disappointed. It got off to a flying start, literally, but went downhill fast thereafter. Darcey seemed to do little but be moved through a series of lifts and the piece as a whole could have been danced by anyone.I was hoping they might come up with something to rival the Khan piece in the opener, perhaps something thoughtful based around the extinguishing of the flame and a chance to showcase what the RB can do with decent choreography.Perhaps it missed something in translation to the small screen, I don't know.If it was all terribly meaningful, I'm afraid it passed me by, although I do get the Phoenix imagery, but it was all back to front wasn't it? Anyway, the rest of the show was an endurance test for me but that sort of thing is subjective.

Jane S! You are a star! It must have been this. I would have been ten years old, so on the cusp of it no longer being cool to go out with ones parents! I remember the pas de deux, as Margot was obviously past her prime and quite frail, but still had that magic that made seeing her so exciting. Are you from Brighton by chance? I don't suppose you recall the night of Swan Lake by a visiting company, when they overdid the dry ice - it is a small theatre - the entire auditorium was engulfed and all you could hear were coughs and cries of 'I can't see anything'. This would have been early eighties! Happy days, sounds like I go to all the best gigs.