Classical audiences are rebelling against funding cuts by faux-populist arts leaders.
Doom is relative. Lately, my colleagues in the British press have been lamenting the decline of London’s musical scene; John Allison, the editor ofmagazine, writes that in the wake of Brexit the city “feels like much less of a great cultural capital.” Yet a recent three-day visit to London left me envious of the riches on offer.
What impresses an American observer is the ferocity with which the British have resisted the posturing of self-protective bigwigs. At the Last Night of the Proms, the BBC Singers received a sustained roar of applause—symbolic of an upwelling of protest that had forced the BBC to reconsider its termination of the group.
New Yorkers have reason to take an interest in the Royal Opera’s “Rheingold,” since it is possibly destined for these shores. The Met had planned to co-produce a “Ring” cycle with the English National Opera, but that project has fallen by the wayside. The Royal Opera is now launching its own “Ring,” and Peter Gelb, the Met’s general manager, came to London to scope it out.
None of this is shockingly new: “Ring” directors have been gesturing toward ecological crisis for decades. What matters is the vital precision that Kosky brings to his scenario. Each character is sharply sketched and smartly blocked; a friend remarked that, as in a lucid tennis volley, you always see the ball. At the same time, the production has no shortage of uncanny, psychically unsettling images.
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