In the ecology of country house opera – privately funded, seen by dedicated but relatively small audiences – much remains hidden, or unseen. The optional dressing up and high ticket prices steal headlines, mostly negative. Their short seasons, which began in May, are nearing an end. (Glyndebourne, older, bigger, better funded, operates slightly differently, though there are overlaps.) In this month of political transformation, with so many questions to ask about the future of our collapsing cultural landscape, we should look closely at these small enterprises. What goes on beyond the frivolous pleasure gardens image? Should we care?
In short, yes. I have referred passingly to their work in recent weeks – at Longborough and Garsington – but there are several more. Their work is vital. The habitat that so long nurtured our national companies – English National Opera, Welsh National Opera, Scottish Opera – has been destroyed: by Arts Council funding cuts, by political indifference, by a disregard for music education. Whatever support the new government gives, these complex organisms will need time to recover after prolonged catastrophe. More cash will be required than even a culturally well-disposed chancellor will ever have.
