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Why arias in the multiplex fall flat
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No substitute for excitement of live performance

Screening operas at cinemas is helping to bolster the popularity of this frail art form, but it's no substitute for the emotional intensity, acoustic quality and excitement of live drama

Last year, I attended a performance of Handel's opera Rodelinda. With fewer than 200 seats in the venue there was no lengthy climb up to the balcony, no seat without a perfect view. And with no formal etiquette we dressed as we liked, and came and went as we pleased. Which was lucky, because about an hour into the performance I did something I've never done before: I walked out and didn't come back. I doubt the performers took offence; they were 3,000 miles away in New York, and I was in acoustic exile in an art-house cinema in East London.

 

The Royal Opera has recently launched its second live cinema season. Nine productions will screen in some 900 cinemas across 32 countries. Vast figures for a cultural phenomenon still in its infancy, and dwarfed by New York's Metropolitan Opera, whose 2012/13 season will reach an astonishing 1,500 screens in no fewer than 46 nations – a global operatic empire that extends from Columbia to Croatia, Egypt to Ecuador. Even Glyndebourne, that bastion of cultural conservatism, first screened its festival operas in UK cinemas in 2007.

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