Guy Dammann

Country house opera

The English approach to opera and the open air betrays our national discomfort with the art form

issue 20 June 2015

I stole a blanket last night. Rather a nice one, in fact. I feel bad about it, of course, but guilt is less inconvenient than pneumonia; and after trying to blow-dry my waterlogged dinner jacket with the winds howling through Garsington Opera’s ‘airy’ pavilion, it seemed like pneumonia or the blanket were the options.

Forgive the melodramatic, self-justificatory tone. That, too, has its roots in the evening’s diversions, which included a performance of Intermezzo, Richard Strauss’s melodramatic and self-justificatory autobiographical account of a marital misunderstanding. It’s an odd piece, lovely in some ways, trite and misogynistic in others.

Some decades ago, after a May Day ball in Oxford, I learned that poncing around wet and muddy fields in evening dress is misguided; a category error, even. I vowed not to do it again. But now my early summer is occupied with little else than poncing around wet fields in evening wear.

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