Page 170 - FINAL_Theatre of Sound Coverage Book

11 December 2021

This year, opera had to do the unthinkable in

order to survive

Singers in masks, pre-recorded orchestras and even performances without music – in 2021, opera
had an uphill struggle to make itself heard
NICHOLAS KENYON

Thirst for fun: Hanna Hipp and Miah Persson in Der Rosenkavalier CREDIT: Alastair Muir

Singing struggled hard in 2021 to make itself heard. Early evidence from Europe that communal
choral singing was an active spreader of Covid caused extreme caution to prevail during lockdown,
and the Government’s on-off guidance was excessively negative towards singing, until the
reopening of venues was announced for May 17.

Then the challenge to revive live opera had to be met in difficult conditions. Rehearsals in masks,
orchestras spaced out (or recorded in advance) and audience numbers reduced by distancing did
not make for a celebratory feel. But many venues were ready, some had already modified their
plans (Opera Holland Park created an outdoor distanced venue) and others raced to catch up.

The Royal Opera was admirably first into the post-lockdown fray on May 17 with a new modern-
dress production of Mozart’s La clemenza di Tito by Richard Jones, which, however, didn’t stir
much enthusiasm. Full audiences were back for its September season opener of Verdi’s Rigoletto