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Post by Someone in a tree on Feb 9, 2016 21:09:35 GMT
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Post by BurlyBeaR on Feb 10, 2016 1:04:31 GMT
I do wonder if opera in its current form has to die, in order to be reborn.
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Post by Someone in a tree on Feb 11, 2016 12:44:13 GMT
Good point
I think ENO need a dramatic restructure to survive instead of silly thinking around the edges
Become smaller scale ie Opera North or Welsh National Opera and in a smaller venue - Sadlers Wells, Hackney Empire etc And ditch the silly language policy - one size does fit all
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Post by firefingers on Feb 17, 2016 8:55:36 GMT
The most recent issue of Private Eye has an article stating that the Arts Council may want ENO to fail, as they would become the owners of the London Coliseum which could be quite a money spinner for them.
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Feb 17, 2016 9:00:20 GMT
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Post by Deleted on Feb 17, 2016 10:29:05 GMT
I would go to the ENO far far more often if it weren't stupidly expensive, and I'm sure I'm not alone. There must be an economic case for reducing prices and selling more tickets rather than having a load of empty expensive seats, surely?
I know they do the secret seats and all that, but you have to be on the ball to get them and I rarely am. Ditto heading for TKTS to get a reduced seat - who has the time to do that after work?
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Post by Someone in a tree on Feb 17, 2016 16:39:52 GMT
Totally agree Abby. The pricing is stupid and does encourage people to book through the book office but to wait for the discount , which just makes the product look cheap
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Post by Jon on Feb 17, 2016 17:13:18 GMT
The most recent issue of Private Eye has an article stating that the Arts Council may want ENO to fail, as they would become the owners of the London Coliseum which could be quite a money spinner for them. I'm sure there would be interest by one of the major theatre owners to acquire it
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Feb 26, 2016 14:49:34 GMT
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Post by Dawnstar on Feb 26, 2016 15:57:30 GMT
Given they're threatening to skip the first act of an opera by the famously minimalist Philip Glass I can't help wondering if many people will actually notice their absence?!
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Post by Phantom of London on Feb 28, 2016 23:24:37 GMT
I would go to the ENO far far more often if it weren't stupidly expensive, and I'm sure I'm not alone. There must be an economic case for reducing prices and selling more tickets rather than having a load of empty expensive seats, surely? I know they do the secret seats and all that, but you have to be on the ball to get them and I rarely am. Ditto heading for TKTS to get a reduced seat - who has the time to do that after work? It must help that the ENO venue is less than 5 minutes walk from TKTs and they advertise on their website what shows are available, so it is less hit than miss, it's not like you have to go to Sadler Wells or Southbank Centre, which is a considerable distance. who wants a big theatre today? They can't even put a full artistic programme into the mighty London Palladium.
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Post by DebbieDoesDouglas(Hodge) on Feb 29, 2016 14:16:35 GMT
The Chorus (and Orchestra) have an Oliviereriverer award nom! For Best Somethingorother
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Post by Someone in a tree on Mar 1, 2016 6:30:13 GMT
ENO generally get all the awards but ...
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Post by mjr on Mar 2, 2016 16:36:40 GMT
Well its my first post on the new forum, sad to see the other go!
Those complaining about ENO prices, where are you buying from? Yes there are some expensive seats on sale but at every performance there are hundreds of seats available for £25 of less.
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Post by Coated on Mar 22, 2016 23:41:31 GMT
Things aren't getting any better at the ENO. The Music Director has resigned due to management decisions. The tweet by Jack Malvern posts a copy of an email send to staff explaining why.
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Post by Honoured Guest on Mar 23, 2016 15:50:37 GMT
At least ENO is now spared a bust-up over planning between its new Artistic Director and its Music Director!
It's a pity that Mark Wigglesworth wasn't prepared to adapt to reality - Maybe such necessary flexibility should be more rigorously assessed when interviewing and assessing applicants for senior roles in public arts companies.
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Post by Coated on Mar 24, 2016 0:28:36 GMT
Wouldn't it be lovely if those stringent tests were applied to Board Members and Executive Directors to ensure that they are capable of running an arts organisation?
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Post by Honoured Guest on Mar 24, 2016 11:07:07 GMT
Wouldn't it be lovely if those stringent tests were applied to Board Members and Executive Directors to ensure that they are capable of running an arts organisation? Without the actions of the Board and Executive, ENO would have gone bust by now, or in the imminent future, putting all those little Chorus members out on the street for twelve months a year instead of just for three.
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Post by partytentdown on Mar 29, 2016 11:25:12 GMT
I'm not much of an opera buff, could anyone give me a bullet point summary of the ENO's problems?
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Post by Phantom of London on Apr 10, 2016 21:01:03 GMT
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Post by Phantom of London on Jul 15, 2017 1:27:52 GMT
I hope finances and internal strifes is the ENO has abated, with Bat Out of Hell and Carousel adding to their coffers. Part of their massive expenditure is the upkeep and operating the iconic London Colesium, so last night I was at the Barbican viewing a very good Tempest and it struck me that the theatre is very under used and probably the symphonic hall is too, so why not give the Colesium back to commercial use and move in the occasional successful show if possible, the why not use both theatre and symphonic hall for their artistic programme, killing 2 birds with one rock their?
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Post by firefingers on Jul 15, 2017 16:18:18 GMT
They got their government funding returned to the old level so they should start doing much better.
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Post by joem on Jul 16, 2017 14:06:52 GMT
I'm supporting the ENO by buying tickets to see productions I want to see (eg A Midsummer Night's Dream) at top prices without looking for any discounts etc; this is I think the way to support arts organisations. Many people who sign petitions have never even been to the place they want to preserve.
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Post by Mr Snow on Jul 16, 2017 20:45:42 GMT
I'm supporting the ENO by buying tickets to see productions I want to see (eg A Midsummer Night's Dream) at top prices without looking for any discounts etc; this is I think the way to support arts organisations. Many people who sign petitions have never even been to the place they want to preserve. We have the same policy but I have to wonder if its just sentiment for an organisation that we love and have got so much of our love of Opera from...in the past. in hte rest of my life I look for the best value option. Once upon a time when we were young the ROH had no surtitles and did strictly 'traditional' productions. Today both houses have surtitles and do a mix of mainly modern but some traditional productions. Even though we pay face value tickets at both houses, they are massively subsidised and I have reluctantly come to the conclusion that there isn't enough distinction between them, to support two Opera houses in London. I fear for me to change my mind ENO needs to find a new vision.
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Post by tonyloco on Aug 18, 2017 9:45:10 GMT
I just posted this on the ENO New Season thread but now realise it should have been posted here.
From an email received this morning from WhatsOnStage
English National Opera's new season opens at the London Coliseum next month with a striking new production of Verdi's Aida. Set in Ancient Egypt, it is a timeless story of love and betrayal against the backdrop of war. A roller coaster of emotions told through Verdi’s powerful music, this is opera on a grand scale.
28 September – 2 December 16 performances Tickets from £1380 – £143.75 Sung in English, with surtitles projected above the stage
I don't want to cheapen the discussion about the future of ENO but if those are their prices for the new season then there will be no future for ENO! I guess that's a typo but hey, who knows?
Seriously, having been attending ENO since 1960 when it was Sadler's Wells Opera, I believe the most disastrous decision they ever took was moving to the Coliseum. In my opinion they should go back to operating in a smaller venue and maybe the wonderful Hackney Empire would restore the ethos of when they were in Rosebery Avenue, or perhaps the Barbican Theatre. But, having said that, history tells us that in the late 1950s the company was on the verge of financial ruin and it was only the summer seasons of 'The Merry Widow' starring June Bronhill and several other operettas at the Coliseum that saved the company from bankruptcy at that time. So moving out of the West End into a smaller theatre may not be the answer, but staying in the Coliseum is not the answer either, certainly not artistically and it seems not financially either.
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