Magazine
Latest Issue

Performance notes

If even a Michael Berkeley-Ian McEwan collaboration can't find funding, there must be a real problem with the way we do contemporary opera

By Martin Kettle   May 2008

Few living british composers are as prominent as Michael Berkeley. He has an established body of work stretching back over more than 30 years, is a high-profile public figure in broadcasting and the arts and—as the son of Lennox Berkeley and godson of Benjamin Britten—is one of the bluebloods of English music.

Even fewer British writers are as well known as Ian McEwan. He too has been writing since the 1970s, is one of Britain’s most highly regarded novelists, is a Booker prize-winner and is, like Berkeley, one of Britain’s significant public intellectuals.

So when two such figures, each at…

Register today to continue reading

You’ve hit your limit of three articles in the last 30 days. To get seven more, simply enter your email address below.

You’ll also receive our free e-book Prospect’s Top Thinkers 2020 and our newsletter with the best new writing on politics, economics, literature and the arts.

Prospect may process your personal information for our legitimate business purposes, to provide you with newsletters, subscription offers and other relevant information.

Click here to learn more about these purposes and how we use your data. You will be able to opt-out of further contact on the next page and in all our communications.

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

We want to hear what you think about this article. Submit a letter to letters@prospect-magazine.co.uk

More From Prospect