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RE: A new low, even for Eurotrash productions

" The question for me is how such deviants as the director in this production have managed to attain positions in so many major opera houses "

The answer may lie in the manner in which national arts bodies (who provide major funding for many European performing arts companies and venues) decide how to distribute their riches.

Here in the UK (and I suspect elsewhere in Europe) one criterion is that the recipient must produce new and advanced work. So an opera staged in line with a non-contemporary composer's vision insofar as non-musical aspects are concerned is unlikely to add anything positive to the company's position in the next annual funding round. A good example here in the UK was the end of the D'Oyly Carte company, the original production company for G&S operettas. It had done so continuously using the original staging until 1982 when it was forced to close for the first time after the English Arts Council refused a grant (if I remember correctly) due to D'Oyly Carte's lack of artistic innovation. The performances were not HIP just HP.


"We need less, but better" - Dieter Rams


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