It’s widely agreed that the most difficult form of opera to bring off is operetta, whether of the Austro-German or the French tradition — interesting that the Italians wisely eschew the genre (so far as I know), while the British stay with G&S and their inviolable traditions, including the audience’s laughing in all the right places. In the past four days I have been to two performances of French operetta, neither of them much of a success, for quite different reasons.
Opera Danube is a young company devoted to nurturing singers who recently graduated from one or another of the many music schools. It works with the Orpheus Sinfonia, a small orchestra of players at the same stage of their careers. Its artistic director Andrew Dickinson reminds us in the programme that times are hard, even harder than usual, for young musicians.
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