11 Aug 2014
The great classical music swindle - and why we're better off now
Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.
By Tom Service [6 August 2014, The Guardian]
Some aperçus and soupçons based on those of Paul Morley, with whom I was talking recently for a film I’m making for BBC4 on Mozart. As well as Paul’s Mozartian epiphany - thanks to a darkened room and a Google-lottery of K numbers, but you’ll have to wait until the autumn for more on that - Morley suggested something that got me thinking: that today’s era of technological fluidity, flexibility, and almost-instant access to an entire world of musical possibility suits classical musical culture better, potentially, than it does rock and pop.