<<  -- 6 --  Bill Newman    MAESTRO

'The Royal Opera House, Covent Garden has never done a single one of my operas, and there was only a small production of Amahl and the Night Visitors at Sadler's Wells. You know, in America they try to be patriotic towards music, but I think this was used as an excuse to say that my operas were a menace to works by Benjamin Britten. He refused to meet me, and he knew that I admired his work and would have liked to meet him. Then eventually when I had lost interest, his close friend Princess Margaret of Hesse came to Spoleto and enjoyed it. She told me to leave it to her; she would arrange a meeting. Shortly afterwards I had a note from him saying he knew my music. Yes, he would come to Spoleto. Then he died.

In England, most critics never gave me good reviews. During rehearsals of The Consul  I was not consulted about the production or the staging, beforehand. I didn't want to go and hear it. Afterwards they described it as a ridiculous opera with a terrible story - I would like to show it to you, you would never believe how I was insulted by them. Maybe they thought my popularity would obscure the splendour of Britten - I don't know, but it will pass'.

I commented on the many British composers following Elgar and the emergence of Britten who are largely ignored in live concert; the over-promotion of younger contemporaries. But I admire and enjoy some if not all of Britten's music, so opted for caution. Menotti was quick to react: 'It will eventually come right!'

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