15 comments on “White Shirt Weekend: a worthwhile visit.

  1. I am loving the Colin Davis interview. “One’s ego becomes less and less interesting as you get older, to oneself and to everyone else. I have been around it too long.”

  2. thanks Eyes, for a very niice recount of your experience! what i learned from my multiple attendances of various operas is how difficult it really is to portray the emotions, and thus my mounting admiration for those who can bring it across.

    • and i forgot to voice my dismay: singing in English?? why? can’t they sing in Italian?? good thing they didn’t replace Sesto with a counter-tenor too! that’d be the day i boycott the opera company!

      • That’s what was so galling – they sang in Italian with the Puccini the night before, so heaven knows what the logic of it was. It was just so WRONG! Luckily the British don’t seem so enamoured of CTs in opera but there’s lots in religious music. … where they belong !

      • I know that ENO has it in their artistic mandate to do all operas in English translation. That’s why they were formed as a company, is my understanding. Somebody and art bodies at that time thought that opera in English would reach more people.

        I’d be interested to know if that’s the case, if garbled, unintelligible singing in English (often with obligatory English surtitles) really charmed any masses into opera for life. But they seem to be going on just fine, the ENO, so… there must be an audience for translated opera. I’ve read that at least their stagings are more experimental than the ROH’s, on average.

        And ETO is I think ENO’s touring sister, if I’m not mistaken?

        • As far as I know there is no relationship between the two companies and they have both been running for about 30 years. Whereas ENO grew out of the old Saddlers Wells and were rebranded when they moved to the Colliseum the ETO was formed as an outreach facility to enable the poor operaless masses outside of the big cities. ENO always uses English, has a permanent venue and tries to capture a younger audience using experimental staging, as you say. ETO has an education programme involving workshops, children and specially commissioned works. The Mr. Fox that they are touring at the moment featured at least 20 local children at each venue.

        • Oh I see. ENO probably does its own touring, though ETO and ENO have in part similar mandates. And the question of opera translated in English remains… Opera Atelier, for instance, in my neck of woods, does all its comedies in English. The other season they had Mozart’s Figaro in English. Perversion, in my view, but they sell tickets.

  3. Did you catch any Eurovision this year? I followed some tweeting and blogging about it. My oh my oh my. Oh my.

    I was saying to George the other day: I sometimes miss Eurovision Song Contest. But then I sober up.

  4. Pingback: La clemenza di Tito (St. John’s Waterloo, 21-11-14) | opera, innit?

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