The ROH (& ballet) is a flagship company bringing mostly international artists in most disciplines of the art form. It is not our NATIONAL opera company. Not in terms of ambitions of education, price entry level, outreach, audience demographic, innovation,artists or identity.
ENO is/has always been these things. That is why it created English National Opera North which tours the smaller cities / venues in midlands & up to Newcastle. Why axe the National company in our capital where larger audiences for every production will only be sustainable there
due to population/travel accessibility/ being the cultural hub? Every large European city sustains its international house & home house for its own creatives & tours from there.
You can't find a year round audience in any region outside the capital for rep theatre/ musical so
why expect it of opera . Musicals/ panto/rock etc tours. If arts/ theatre organisations have no base, no place to create & no permanently supported community of creatives they can't make good work. Why are we so ashamed of being based in London ? People regularly travel from all
parts UK to London sport, theatre, musicals , galleries etc & they watch increasingly online which means that location matters less. No shame.
Allowing international visitors to watch & see our capital as a cultural hub is not a negative in any sense. WNO tours to Southampton
& why curtail Glyndebourne tour if you actually want to reach everyone/nurture young artists? Isn't Rupert Christiansen's @TheSpectator piece crazily irresponsible to suggest our National company be "killed off" knowing that relocation & finding a new large enough regional
audience after all funding that would make that realistically possible is removed & disbanding all the employees to alternative jobs. How is that a plan for anyone who cares about the creatives & enablers & audience in an art form that involves theatre music visual words
simultaneously & thus why it is for humanity so crucial as an endeavour. Opera is the collaborative best of humanity when it is succeeding OR when it is failing : It's creative collaborative will to express our humanity is priceless .It will most certainly fail permanently if you
treat it this way. Remove the current senseless shame of our parent National company being based in our capital, and reinstate it's funding with a positive & possible plan for it's future, for audiences, for all our artists, for all our children's sakes, and for our nation.
INCANDESCENT.
How to sing a performance of Orfeo tonight at English National Opera North( @Opera_North ) when it's parent company being eviscerated on 20 weeks notice by @DCMS@ace_national@ace__london. Nicholas Serota needs resign in honourable protest & not hide when #ENO
which is slap bang CENTRAL to the Arts Ecosystem in this nation is being destroyed. There will BE no artists to tour to or perform in all UK regions if this 92 yr old company, founded for UK artists /audiences is lost.
ENO develops every single artist:-singers, conductors, designers, directors, librettists,repetiteurs, casting directors, agents , you name it ..ALL in one way or another in their lives in the UK opera arts music community.
I just got home from a week trying to learn and sing an
opera role in a new version and language, utterly shattered. I sang 23 hours Monday to Friday. I am back in my parents house every day (when I am not away rehearsing or performing) where there is now only my mother. My
Sister Stella and I were there 24/7 -as we are now -all way through lock down until my fathers death from dementia. I have been living like this since Feb 2015 when my mother collapsed with a massive stroke. My sister and I have had no holiday, no break, no unbroken nights sleep,
and most days a week we are up several times a night.
My poor mother who is paralysed on one side and almost blind is fully here mentally, but that is cruel in itself. We simply will not abandon her to strangers, leaving the house she built herself : she would be terrified. My