Bank Holidays at this time of year are not particularly restful; they just slow everything down and I can be a bit of a curmudgeon at this time of year. Frankly that is nothing new since I am quite allergic to Christmas as well. And August Bank Holiday. And May Day....

I've been musing on the age old arguments about updated productions against traditional. If you think I'm going to offer an analysis here you are out of luck: if it works, it works is all I will offer. What got me thinking was seeing a dvd of a Zeffirelli film. He is relevant to the issue because he once wrote a long article in an Italian newspaper in which he fired off a broadside at modern productions. In the course of the article he picked on our production of Tosca from 2007 (which he hadn't seen I hasten to add) and declared it an outrage to end all outrages because we had set it in 1968 and taken, in his view, unspeakable liberties with it. We hadn't of course but whaddya gonna do? His assault on us remains one of our proudest moments.

It is funny how being insulted by famous people can be a source of pleasure. Richard Dreyfuss once told me that he didn't understand a word I was saying on account of my London accent. And I know for a fact that Michael Caine once said "Who the f...kin 'ell is Mike Volpe?"

I am becoming something of an expert on fabric engineering. I had to look at something the rigger felt it was easier to explain if he actually showed me. Showing me meant being sixty odd feet off the ground in the basket of a cherry picker. Now I'm not particularly afraid of heights but the space (way, way) above my head is not my normal working environment. Maintaining my dignity and authority was paramount in the circumstances and as we lifted slowly into the air I was nonchalance personified, leaning casually against the guard rail, chatting amiably as if a raconteur at the bar. In truth I was positioning my body to obscure the rigger's view of the one thing that would betray me; the gleaming white of my knuckles. It was an astounding view though and it was fascinating to see the genuine beauty of the structure from a new perspective. These fabric buildings really are the most exquisite and naturally formed architecture.

Next week is a big one and we all wait excitedly to see how the new backstage is going to look. The seats come in too and by the end of the week 90 percent of the theatre will be in place. And soon after that the first two productions begin music rehearsals.

Things in the office are picking up pace and Julia is coping well with the demands - the season magazine is in full flow and the first events are at advanced planning stages. Meanwhile we hope the snow from the north doesn't descend beyond Birmingham.

Two months today until first night.

Winter returned yesterday. We didn't get the lethal blast that Scotland endured but brass monkeys in Kensington were complaining bitterly. A couple of engineers from the company who build our canopy were none too happy either as they dangled from ropes and clambered over the peaks of the roof. It had been noticed that the finely honed process of tensioning the fabric had gone awry ever so slightly. This meant a small section of the structure looked a bit wrinkly, water was running off it in unexpected ways and points that carry heavy loads of lighting truss were at odd angles. To the untrained eye nothing would seem amiss but it needed tweaking and so the riggers were swinging around in the icy winds fiddling with the giant cat's cradle of cables and turning spigots and bolts . I left them to it in order to get to Cadogan Hall for the Chelsea Academy showcase.

And what a showcase it was; the kids were fantastic in their performances of Carmen extracts and the beautiful entrance hall of the venue looked fabulous. Congratulations to all concerned and hopefully we will see projects like this flourish through next year and beyond. These were eleven and twelve year old kids and we should all continue to challenge them because they really can lift themselves to achieve when they are given the opportunity. There is no limit to what we can expect from them. I know this from personal experience in my own schooling and it is something James and I will continue to preach.

The Indy podcast is up on their website

http://www.independent.co.uk/arts-entertainment/theatre-dance/features/opera-podcast-opera-holland-parks-new-season-1932232.html

Carmen Inspired

The final piece of the twelve week Chelsea Academy Carmen Inspired project (see our website for the project blog) falls into place today when the students give their performances at an event at Cadogan Hall. We are making a short film of today so watch this space for links to that which no doubt we will plonk on the web somewhere. A really exciting day for them I hope and we are all looking forward to it.

The podcast went well with Ed and I did my utmost to sound as hinged as possible. That will be on the web soon too so you'll be able to make your own mind up. I think some interesting stuff was said along the way...

James and I are recording a podcast for the Independent today. Ed Seckerson who does these for the paper and syndicates them elsewhere never seems to edit them; which is a good or bad thing depending on how ridiculous the things you say are. I did one with him last year and I still think I sound a touch unhinged on it.

Podcasts are good things now that people are used to the whole process of getting them, not to mention the streaming, press and play nature of most websites. If you have the money you can fill your website with films and podcasts and all manner of fancy content. Very nice too, if you can dredge up the resources. I have doubts that the costs are totally commensurate with the ticket sales it all generates but it doesn't do any harm I am sure.