So it’s the start of the summer opera season at Wormsley and we’re sitting there in evening dress in the middle of the Getty estate, looking at a beautifully detailed replica of a rundown English village hall. It’s superbly done: the canvas chairs and austerity-drab paintwork in Paul Curran’s new production of The Bartered Bride could surely have been found in any number of church halls in this corner of the Chilterns, at least in the 1950s when this production seems to be set.
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