An absolutely riveting evening listening to "The Minotaur" on R3 and I'm so glad that I got a copy of the libretto in good time.   The tapestry of sound has ruled out any alternative for the rest of the night, particularly Wagner.   I've recorded the broadcast and will listen again before next week's TV transmission.   It's an awesome work; quite enthralling on several levels.  Even the interval feature held my attention.   My only caveat was a fit of the giggles when John Tomlinson roared like a wounded bull as it always reminded me of Oliver Hardy's call of distress before one of his calamitous pratfalls.  Otherwise deeply moved by his suffering.

Lucky I hadn't noticed the TV slot, Stanley, as I'd probably have given the R3 broadcast a miss; which would have been a shame as I, too, enjoyed every minute. 

I've now made a note to make sure I record the TV broadcast.  I trust they are showing the performance and not just a documentary about Tomlinson, Rice, Pappano etc choosing their outfits or engaging in their several hobbies!

I heard some on my way back from the gathering yesterday, but despite forgetting to set the back-up machine before leaving, was relieved to fine on returning that the main recorder had done its job. I'm still hearing the piece for the first time, as it's having to be in sections as I copy and edit. Even so, it's overwhelming - a stretching of what I'd consider as a language that I'd warm to immediately - such assured virtuosity, with an internal logic that attracts rather than confuses.

(Incidentally, I find myself catching echoes of King Priam, and even a strange one from Billy Budd: the Minotaur's first incoherent vocal entry is very reminiscent of Billy's stammer, not just vocally, but also in the orchestral forces and even their individual figures....)

 Yes, HtoHe, I've checked the schedule for BBC 2, on Sat, 7 June.   The full production will be shown with "Have I Got News For Your" sandwiched between Parts 1 and 2!

I really was overwhelmed, last night, and I doubt whether I have lost a sense of actual time since I saw the ENO Ring Cycle in the early 70s.   Actual time in the sense of being aware of arriving at work and doing my job - and being unusually quiet for a few days - as the performance time, every other day, took precedence.   Uncanny.    

Yes, IGI, I can understand what you mean by being even more engaged by the visual production which will add yet another dimension to the tapestry.   Memories, too, of the disturbing raw intensity of Jon Vickers in Act 3 of "Tristan" at Covent Garden, accompanied John Tomlinson's torments.

Fortuitously, a few days ago, I got a new stained glass transfer of Isaak Walton's 'Study To Be Quiet'  - vivid memories of a visit to Winchester Cathedral  some years ago - and it made me feel quite serene with a wee dram, late last night.   The previous day, I phoned the Secretary of the Cathedral Bookshop who was surprised when I mentioned that the postcard, sent by an anonymous well-wisher to Terry Waite,  had helped him preserve his sanity during his long imprisonment in a Beirut basement.

  Ha!   Thank you, IGI.

          "A double blessing is a double grace"   (Laertes)

   I'm sure the repro will give MB posters a lot of pleasure.   The stained glass transfer was
   an unexpected surprise for me as I contacted the Cathedral Bookshop to replenish my supply of
   postcards.   Really delighted by your speedy gesture.   

...which provides a welcome link to this thread with performances later on this month.  

Nonsense, Stanley! Exit accompanied in mutually enjoyable conversation by a small friendly wolf.

I just happen to know that Meeting House quite well which is why it stuck in the memory.