Thomas beecham

Friday

Sue Prideaux

Football vs opera, and the terror of being considered highbrow

After Handel introduced Italian opera to London, Georgians and Victorians went to performances to wear their diamonds and meet friends. As Victoria’s reign progressed, opera percolated down, via brass bands, organ grinders, music hall warblers and whistling delivery boys. In 1869, the Leeds impresario Carl Rosa set up ‘a sort of operatic Woolworths’, a touring company putting on shows in cinemas and working men’s clubs Lilian Baylis was the other great populariser. In 1897, she took over her aunt’s music hall, the Old Vic, and threw herself into social improvement: ‘My people must have the best. God tells me the best is grand opera.’ With 2,000 seats priced between 3d

Thursday

Richard Bratby

A short history of millionaire composers

Let me tell you about the very rich. They are different from you and me, though if you’ve spent much time in the world of classical music, and you hadn’t realised just how different, you could do worse than attend an opening night at Grange Park Opera. True, Grange Park’s founder, Wasfi Kani, is famously adept at cultivating donors: you don’t build an opera house on the late Duchess of Roxburghe’s Surrey estate without a certain fundraising flair. It was when Joanna Lumley shimmered on stage in a midnight-blue ball gown and suggested that we might each like to leave the company at least £25,000 in our wills that I

Thursday

Alexandra Coghlan

Where to start with the music of Ethel Smyth

I’m reminded of an old Irish joke. A tourist approaches a local for directions to Dublin. The local, after much teeth-sucking and head-scratching, eventually replies: ‘Well, I wouldn’t start from here…’. The news that, 75 years after her death, English composer Ethel Smyth has won a Grammy Award for her last large-scale work The Prison is as excellent as it is unexpected. But it’s also frustrating because, well, if I were setting out into Smyth for the first time, I really wouldn’t start from there. A ‘symphony’ for soprano, bass–baritone, chorus and orchestra, The Prison was the 72-year-old Smyth’s final homage to American philosopher and poet Henry Brewster: librettist, friend,