Slipped Disc gets blocked at ENO

We are reliably informed that staff at English National Opera can no longer access the Slipped Disc website on their work computers, following measures taken by the chief executive Stuart Murphy.

This is usually a sign of panic – and imminent regime change.

As far as we can see, ENO peeps are still getting Slipped Disc on their phones, tablets and other devices. We’ll keep telling them what’s really going on in the Titanic captain’s cabin.

 

UPDATE: More scorn for ENO chief from the Guardian (with namecheck for Slipped Disc).

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  • They’ve never really emerged from their bunker mentality since the fiasco of The Wimmin Of Whitechapel. If this stpry is true, it’s further evidence of Murphy’s inadequacy. When will the Arts Council give him the push – and appoiht a professional? Not someone shortlisted by Management Consultaants, please?!

  • It would be a shame for British culture if it cannot maintain two opera houses in London, while small cities like Berlin & Vienna maintain three each. Also, in an age of surtitles, do we need an opera house to stage everything in English? Komische Opera in Berlin no longer stages everything in German (while I admire this company by the way, I do not want to idealise their work. I have recently attended an atrociously bad performance of Der Rosenkavalier there). In relation to ENO, the rot started by cutting down the chorus first & the orchestra eventually. One cannot run a decent opera house in the cheap.

    • “a small City like Berlin or Vienna”…guy, it’s difficult to find europe-wide more vivid spots in culture/music/arts than Berlin or Vienna! Such an ignorance 🙁

      • “Such an ignorance”

        What are you talking about?

        Berlin population: approx 3.5m
        Vienna population: approx 1.8m
        London population: approx 8.7m

        • Sadly, we are not a nation of opera loving people but a nation of football and cricket goers and followers. As for London, I would never have got large groups going the opera for the very first time as my side kick in life for many years, if it hadn’t been for ENO, the affordable tickets, and opera being in English. It has its place plus Covent Garden is so expensive that most of us can’t afford to go or it’s sold out Since I moved to the north, I have been to everything at Opera North. Far fewer performances in Leeds than in London but I have never seen the Grand full! There is a place for opera in English. No one has to go if they don’t like Opera in English. But that aside, not an excuse to run a company badly that affects its artistry. They have always been innovative compared to the Garden, and take risks. I really hope they get sorted once and for all by those who know how, not armchair critics.

  • ENO was so strong only ten years ago! The Turn of the Screw with Mackerras conducting. Billy Budd with Gardner. Then that perky consultant woman came in. Next it was musicals and renting out the theater. Now there’s an ignoramus in charge.

    • Deft management in the 1980s left ENO trouncing the ROH on a regular basis – better shows, stronger casts, exciting repertoire (UK premieres of Akhnaten , and Nixon In China).

      The appearance of McKinsey-appointed Cressida Bollocks turned the ‘Powerhouse’ into The Turkey Factory within a decade. Take away the vision and expertise – and replace them with consultants and committees – and the crew of the Ship Of Fools is up to full contingent.

      • “Deft management in the 1980s left ENO trouncing the ROH on a regular basis – better shows, stronger casts…”

        …by spending money way beyond their budget. They were on the point of going bust and still haven’t recovered financially.

  • Why does anyone want to see opera translated into English anymore? It’s an anachronism from pre-war days.

    If the ENO wants to survive, it needs to abandon opera in translation.

    • No, Jack, people like me and many others choose to go to opera in English – opera in our own language, particularly comic opera, and not be glued to surtitles all if the time, even though they are there. Also opera in English is in their charter and the whole purpose of their being.

      • It should be removed from their charter and should no longer be their whole purpose. While YOU like opera in English, the size of the audience is quite small (and declining). This is one of the reasons why the ENO is struggling.

        The ENO should have a mixture of English language opera, opera in the original language, and opera translated to English. There is an audience for cheap opera not at the ROH but relatively few of that audience want to see something sung in English unless the original libretto was in English.

  • ==McKinsey-appointed Cressida Bollocks turned the ‘Powerhouse’ into The Turkey Factory

    But in fairness, Cressida B did seem to give enough clout to get them back into the Arts Councils National Portfolio space for re-funding after it had been brutally axed. Sometimes you do need these grey suits. ENO were sensible enough to give her a finite contract

  • Nearly 30 ENO staffers have resigned since Stuart Murphy took over. Others have tried to leave. Incapable of managing the day to day business the board had to appoint a friend of his fromSky as COO so there are now two people doing the job Cressida Pollock did.A new board member has been brought in to strengthen PR, also from Sky. Not surprising then that Sky gets name checked all over the papers. He is really good at spending money though, the new glass doors, the new production centre, the trip to Liverpool, the refurbished back office etc etc, how long before they need another management consultant to save ENO from going under again?

  • Good luck with your opera in English shit. Plenty of armature opera in English going around. You’ll get this opera company to finally close if you keep insisting on your elitist, racist ways of wanting opera only in your language. Opera is meant to be for everyone, do it in all languages. Twats.

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