Last Saturday Glyndebourne became a potential crime scene. The countryside haven witnessed opera’s Women’s World Cup moment. It happened thus. The ref had just shown a red card to Semele who blew up convincingly in Act III of George Frederic Handel’s Semele. She was off the pitch and en route to the dressing room.
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At the awards ceremony in Munich this year, a jury dug deep into the purpose of opera and its impact on society.
“Outcomes” was absent from our vocabulary a few decades ago and is now thriving at the heart of it.
Beijing has accumulated power by avoiding emulating the methods of its main competitor, argues Oriana Skylar-Mastro in her new book.
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