I can’t help feeling we’ve been here before, and repeatedly, in the past – and not just with ENO, either, but with so many of our opera houses. The management-level soap opera that surrounds it all is always great gossipy fun, but whoever resigns, stays, joins, is fired, insulted, or otherwise slandered, Charlotte I think puts her finger on the bigger story, which is really about the cultural function of opera in the country.