This was last night and I was at the rear of the Dress Circle. The place was 2/3 rds full. The orchestra was horribly strident with brass drowning out strings in full tutti. The conducting was totally insensitive with no sense of line or rubato. In short it was sh*te!
Glad to know that it wasn't just my failing hearing that registered poor orchestral balance, which I put down to the conducting.
I was down in the back corner of the stalls. Terrible acoustic.
ENO really need to leave the Coli
Yes, I heartily agree. So that makes complaints about the sound in the middle of the balcony from me, the back of the dress circle from tmesis and the back corner of the stalls. No wonder the audiences stay away in droves! Seriously, I do wonder whether suggestions that ENO would be far better off in the under-used Barbican Theatre might prove sensible, although I don't know whether or not that auditorium would prove acoustically satisfactory for opera. But I guess that's not going to happen and we will have to suffer the disaster of ENO eventually collapsing altogether as the NY City Opera eventually did.
Yes, but ENO (or Sadler's Wells as it was previously) should never have moved into the Coli in the first place, although it did happen to suit the Goodall Wagner productions. I am not properly acquainted with the current state of world opera, but are there not still three opera houses operating in Paris and Berlin? And don't some cities in Germany and Austria still have two opera houses, with the second house playing mainly operettas? That was certainly true in Munich and Vienna in the past, unless it has changed now. If this is the case, then it would be nice to think London could support the ROH as its major international house and then a smaller house doing more specialised repertoire under the banner of 'English National'. But maybe you are right and this is not the time for such an arrangement and perhaps even the ROH's days in its present form are numbered.
Oh well, it doesn't bother me at the end of my theatre-going life but I feel sorry that young people can't have the same enormous pleasure and satisfactions as I did back in the 1960s and 70s going frequently to Covent Garden and Rosebery Avenue to see wonderful operas in generally traditional productions.