Wittgenstein once said (to M.O’C Drury): ‘It is impossible for me to say one word in my book about all that music has meant in my life’. I do not think Wittgenstein meant to point to some personal hang up Musical experience is at once very important to those to whom it is important at all and very difficult to talk sense about. It is not quite impossible to do this, but impossible to do it consistently. One thinks of the remarks on music in Cocteau’s Rappel a I’Ordre or Stravinsky’s Conversations where remarks which illuminate sit cheek to jowel with remarks that merely obscure. Or, to take a more academic example, what is one to make of the fact that the same man, Donald Tovey, wrote the brilliant essay on Schubert and Loewes’ setting of Erlkönig that so illuminates the whole world of Lieder, and the utterly wrongheaded paper on Mozart’s fortieth symphony? It is then no disparagement of Hamish Swanston to say that his article, A Redeeming Occasion, in the March number of New Blackfriars, whilst full of interesting ideas, adds up to a general thesis about opera that must be rejected.

Dr Swanston likes opera. His taste is good, or at any rate I like most of the same things he does. He sees, what I am sure is just, that Mozart, Verdi, and Wagner are in quite a different category from other composers of opera. He would add Beethoven, on the strength of Fidelio, to this select company—here I strongly disagree but more of that in a moment. Going to one of this select group of operas is a redeeming occasion in the strict theological sense and Dr Swanston does not hesitate from a final conclusion that opera at this level ‘has itself become a way of theologising’. Here I am sure, he is quite wrong but to say why I find difficult because I do not think going to the opera, even to different performances of the same opera, is one kind of experience about which general conclusions can be made.