James Clutton says supporters have stood by cultural organisations through the toughest of times. They deserve transparency, care and as much opportunity to engage as possible.
DCMS and the University of Bristol publicised the research findings as proof that 'singing is no riskier than speaking'. That's not quite what the study says.
Indoor performance pilots with the London Symphony Orchestra will shape further reopening plans amid concerns about the safety of singing, brass and wind instruments.
For many years ‘music for theatre’ wasn’t even recognised in the Olivier or Evening Standard awards, but the tide is turning. Paul Clark sees the increasing confidence and ambition of sound and music, even in ‘well-made plays’.
“It is the art they want, not the buildings”. Jessica Walker says it’s time to rethink the structures that allow arts organisations’ viability to rely on the self-exploitation of musicians and creatives.
Our much-discussed social and mental health relies on having something to live for and cherish during and after this existential shock. So when will someone start treating artists as Essential Workers, asks Julian Reynolds.
The financial fallout from the cancellation and postponement of hundreds of orchestral performances is taking a heavy toll on both orchestras and musicians. Mark Pemberton explains the issues – and what the ABO is doing about them.
Many children steer well clear of opera, but the artform has allowed primary school pupils in Norfolk to discover new heights of confidence and creativity. Genevieve Raghu explains how.
Opera Holland Park’s Young Artists scheme, which gives participants the chance to be part of the main season, has become an important source of talent for the industry. Imogen van Santvoort explains how it works.
Are free and discount ticket schemes key to reaching new audiences or do they simply benefit existing bookers? Michael Volpe shares Opera Holland Park’s experiences.
No wonder there is so much talk about the death of opera when people are excluded from it all the time, says Bill Bankes-Jones. But are attitudes finally starting to change?
When best intentions backfire?
In trying to diversify its company, English Touring Opera shot itself - and 14 freelancers - in the foot.