Despite a glorious Magic Flute revival, a new artistic director of the stricken opera company will face some hard decisions
Last week English National Opera advertised for an artistic director. Applications close on Wednesday. Get your skates on if you have a “broadly ranging knowledge of opera” and can “lead an artistic vision”. Headhunters are not known for their prose. I hope this lax job description does not reflect the sharp thinking of Cressida Pollock, ENO chief executive, or Mark Wigglesworth, music director, in their search for the missing part of their triumvirate. This is the job John Berry, working with a different team and structure, left last summer.
“Deep” rather than “broad” experience of opera might help, together with a thorough grasp of music (a word not used in the brief). It is vital for ENO’s newcomer to understand with ears and gut, not just because the music department has to plead why a regular chorus and orchestra are essential; why a work may need extra rehearsal time; why singers need vocal support from a set design or, when singing upside down from the flies, must be able to see the conductor. The rumour mill assumes that a choice has been made. This is the last chance for a maverick to jump in. Expect an announcement soon.
Of the many Magic Flutes I have seen, this gets closest to the work’s dark core
This time, unless every penny of that £5m is saved, there will be no English National Opera
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