Alexandra Coghlan

On the road | 25 October 2018

This year’s offering includes a winner of a Radamisto and a Dido and Aeneas that tips at its close from artful to downright devastating

issue 27 October 2018

Wolverhampton; Workington; Blackburn; Sheffield; Lancaster; Hackney. Every year English Touring Opera does what our national opera company doesn’t: packs up its props and takes to the road, bringing opera to the bits of the UK other companies don’t even think about reaching. And not just Traviatas and Toscas either, but properly interesting, often unusual, repertoire.

With a core staff you can pretty much count on your fingers, and ticket prices that would scarcely buy you a sandwich at the Royal Opera House, let alone a seat, the whole operation is one of those minor miracles of the arts world — a company where a little bit of funding goes an awfully long way, and not just geographically.

Then there’s the talent. ETO has had an eye for young singers since the beginning, and a look through past casts finds everyone, from Christopher Purves and Sarah Connolly, Susan Bickley and Amanda Echalaz, starting their careers with the company.

Which isn’t to say that everything ETO touches turns to gold.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in