News and drama. The two are, in modern terms, basically inseparable: stories hit the headlines precisely because they are dramatic, that things are at crisis point, that heads may roll. This is what makes for column inches. And also, as it happens, stirring opera plots. Appropriately enough, then, the New
This morning, as I slumped in bed trying to fend off the tail-end of my head cold, I was reading through assorted interesting articles that had caught my eye over the last few days. One of these was a piece from The Independent, first published in 2013, in which the
Opera, Oxford, and online learning. Perhaps not the most likely combination of things for a post. But this week I’ve been thinking a lot about how important, complicated, uncomfortable, and utterly necessary it is to be in the room with certain things to really try to understand or think about
Some thoughts on opera, funding, and finding audiences… Staying with opera and cultural attitudes, there are a few other recent stories worth throwing into the mix here. One is a debate in The Guardian from early June between Stephen Moss and Bonnie Greer: ‘Does it matter that arts audiences are
