CLYNDEBOURNE continues to be something of a miracle. We grow reputedly poorer every year, Britain's three other opera companies are continually involved in crises of one sort or another, yot Glyndebourne placidly goes on its Way.
An excursion to this unique, pocket, country opera house costs several pounds, yet people flock there in their hundreds every night. Not only that: GIs ndebourne has extended its season and still it is sold out weeks before. What. one wonders, is the cause of this continual success? Obviously for many-foreign visitors and English alike-it has become "the thing to do", but for the real music-lover 'performances there still remain the most satisfying and rewarding as an artistic whole.
The chorus in this year's revival of Stravinsky's "The Rake's Progress"-not performed for several years-is also something of a miracle. I cannot recall any opera performance at which every single word that the chorus uttered could be heard, least of all with such razor-edge clarity. Richard Lewis (Torn Rakewell), Hugues Cuenod (the auctioneer) and Elsie Morison (Anne) are already familiar from previous performances. Gloria Lane is the new, alluring-if somewhat decolletee Baba, and Otakar Kraus the authoritative Nick Shadow. He was taking the place of Hermann Whale.