CLASSICAL
Opera cuts speak of a deeper problem
he protesters sang, from the 1945 Rodgers and Hammerstein musical. The rendition was surprisingly tuneful; those who happened to be passing by Arts Council England (ACE)’s London offices on the bright autumnal morning paused to admire the performance. The opera world is the latest to demonstrate its unease in the face of job insecurity, following in the footsteps of rail staff, medical workers and academics,