Wow, I'm glad I passed. Austin, what did your wife think?

About the same as Lorna, except that she came home raving about Netrebko. But she always does that.

Well, yesterday I did something I've never done before in my life. I walked out on an opera halfway through. I'd read all the rave reviews of The Nose, but to my wife and me, it was unbearably tedious. I'll admit it...I don't get modern opera. And after yesterday, I'm going to stop trying. If that makes me a Philistine, so be it. I'm done.

Oh, Chris, I'm so glad you said that! I was feeling embarrassed because I couldn't make it all the way through The Nose. All that crashing dissonance...I guess I don't get modern opera either.

I was ready to leave after 10 minutes, but my wife stubbornly insisted on staying. The designer/director was obviously having a ball, but even all those clever projections grew tiresome after a while. Do people really like listening to that kind of music? If they're not just pretending to like it to prove how cool they are, then I am really, really missing something. Barbara, did you go? You asked Andrew about it, I remember.

I went. I loved it. And Austin, I promise I'm not just pretending in order to show how cool I am.

This isn't particularly typical Shostakovich, not sustained on this scale. He's responding to the surrealist cartoonish nature of the story -- exaggerated reality, everyone always taking things to extremes. I wouldn't want all opera to be like this, but in fact I know of no other opera quite like this. It creates its own world, and it's not especially dissonant: other composers are far more so. But it's certainly colorful and energetic, and the Kentridge production is brilliant.

I can think of opera composers whose work I would flee at intermission (or just not show up for), but I'm very glad I saw The Nose.

Jon, could you be persuaded to name those composers who would send you fleeing at intermission?

Austin, yes, I did go, and I stuck it out to the end. But I'm pretty much in agreement with the first three posts. I know I too am missing something, and I'm sorry about that. But I don't know what to do about it.

I've seen (not very recently) two performances of The Nose, once at English National Opera (ENO), and the other from an enterprising Welsh troupe at the Buxton Festival. Very jolly, both times round.

For those who don't like Shostakovich very much, try his entertaining comedy Paradise Moscow. There's a wonderful scene (a sort of polka) when all the neighbours arrive to admire the young people's new flat. The opera tails off somewhat at the end but has lots of good tunes. And then there's his Lady Macbeth of Mtsensk, not unrelated to Shakespeare's play.

I don't dislike Shotakovich, and like some of his work quite a lot...but circumstances did not allow me to catch The Nose-cast...

Sure, Barbara, but I know it'll only get me into trouble here. Please believe that I'm aware these are my loss -- clearly they mean something to others, so I'm somehow not just tuned into what they have to offer.

Bellini and Donizetti. I can accept that the occasional aria is pretty or exciting, but it still feels like a long time to wait for them. And a lot to give up, compared to more eventful music. I miss non-stereotypical accompaniment patterns. And counterpoint. And harmonic motion. And inventive textures and orchestration. I don't understand why Mozart can have all these qualities before them, and Verdi and Wagner etc. after them. Why am I supposed to be content with so much less in their operas? I know... "pure melody." I guess that's not enough for me.