<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0" encoding="UTF-8" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/" xmlns:atom="http://www.w3.org/2005/Atom/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:googleplay="http://www.google.com/schemas/play-podcasts/1.0" xmlns:itunes="http://www.itunes.com/dtds/podcast-1.0.dtd" xmlns:fireside="http://fireside.fm/modules/rss/fireside">
  <channel>
    <fireside:hostname>app02</fireside:hostname>
    <fireside:genDate>Fri, 23 Oct 2026 09:37:31 +0000</fireside:genDate>
    <generator>Fireside (https://fireside.fm)</generator>
    <title>Eurovision Song Context - Episodes Tagged with “Glyndebourne”</title>
    <link>https://eurovisionsongcontext.fireside.fm/tags/glyndebourne</link>
    <pubDate>Wed, 21 Oct 2026 17:00:00 -0400</pubDate>
    <description>We start with expertise and end up in Eurovision. It’s kind of our thing. Eurovision Song Context is a monthly podcast that looks at the Eurovision Song Contest through an unexpected lens: expert insight. Each episode, a guest from a different field — psychology, fashion, politics, design, linguistics, and more — talk about their work and how it helps us understand 2–3 Eurovision entries in a whole new light. Are these songs genuinely good? So bad they’re good? Or just weirdly unforgettable? Longform episodes come out on the 12th of every month (the "douzeth"). We're where brilliant minds meet bad key changes.</description>
    <language>en-us</language>
    <itunes:type>episodic</itunes:type>
    <itunes:subtitle>A podcast where we bring in smart people. We talk about smart things, then veer into glitter, wind machines, and geopolitics. Experts. Insight. Eurovision chaos.</itunes:subtitle>
    <itunes:author>Bradley Dalton-Oates</itunes:author>
    <itunes:summary>We start with expertise and end up in Eurovision. It’s kind of our thing. Eurovision Song Context is a monthly podcast that looks at the Eurovision Song Contest through an unexpected lens: expert insight. Each episode, a guest from a different field — psychology, fashion, politics, design, linguistics, and more — talk about their work and how it helps us understand 2–3 Eurovision entries in a whole new light. Are these songs genuinely good? So bad they’re good? Or just weirdly unforgettable? Longform episodes come out on the 12th of every month (the "douzeth"). We're where brilliant minds meet bad key changes.</itunes:summary>
    <itunes:image href="https://cdn.fireside.fm/file/fireside-images-2024/podcasts/images/b/bb1b3a86-681b-4771-9aed-5e5fd06cb3ae/cover.jpg?v=1"/>
    <itunes:explicit>no</itunes:explicit>
    <itunes:keywords>Eurovision, music, expert analysis, Europe, music, arts, culture, ESC</itunes:keywords>
    <itunes:owner>
      <itunes:name>Bradley Dalton-Oates</itunes:name>
      <itunes:email>eurovisionsongcontext@gmail.com</itunes:email>
    </itunes:owner>
<itunes:category text="Arts"/>
<itunes:category text="Music"/>
<itunes:category text="Society &amp; Culture">
  <itunes:category text="Places &amp; Travel"/>
</itunes:category>
<item>
  <title>Episode 92: Is Opera Dying, or Have We Stopped Thinking? With Katie Glass</title>
  <link>https://eurovisionsongcontext.fireside.fm/92</link>
  <guid isPermaLink="false">7bff839a-90a6-4c8d-ab22-8a6f6a01486e</guid>
  <pubDate>Wed, 21 Oct 2026 17:00:00 -0400</pubDate>
  <author>Bradley Dalton-Oates</author>
  <enclosure url="https://aphid.fireside.fm/d/1437767933/bb1b3a86-681b-4771-9aed-5e5fd06cb3ae/7bff839a-90a6-4c8d-ab22-8a6f6a01486e.mp3" length="142510149" type="audio/mpeg"/>
  <itunes:episodeType>full</itunes:episodeType>
  <itunes:author>Bradley Dalton-Oates</itunes:author>
  <itunes:subtitle>In this episode of Eurovision Song Context, Bradley is joined by award-winning British journalist and columnist Katie Glass to explore opera, cultural accessibility, class, education and the changing ways we engage with art.

Katie's recent article for the London Standard argues that opera's ageing audience reflects something bigger than ticket prices: a society increasingly uncomfortable with difficult art, sustained attention and intellectual challenge.

We discuss everything from discovering opera on a date to Glyndebourne's extravagant picnics, the merits of watching performances at home, whether art should be made easier to attract new audiences, and the differences between opera and Eurovision.

Then Katie watches four Eurovision performances, including operatic pop, extraordinary vocal technique, a classic Luxembourg winner and Ukrainian electro-folk.

We finish with Katie's reporting on the British Post Office scandal, and how her work helped inspire the ITV drama Mr Bates vs The Post Office.

Katie is an award-winning feature writer and columnist whose work has appeared in The Times, The Sunday Times, Financial Times, The Telegraph, The Standard and numerous other publications.

Her reporting often examines how major social issues affect ordinary people. Her Sunday Times Magazine investigation into the Post Office scandal helped inspire the television drama Mr Bates vs The Post Office.</itunes:subtitle>
  <itunes:duration>1:24:48</itunes:duration>
  <itunes:explicit>no</itunes:explicit>
  <itunes:image href="https://cdn.fireside.fm/file/fireside-images-2024/podcasts/images/b/bb1b3a86-681b-4771-9aed-5e5fd06cb3ae/cover.jpg?v=1"/>
  <description>&lt;p&gt;ABOUT KATIE GLASS&lt;/p&gt;

&lt;p&gt;Katie's website:&lt;br&gt;
&lt;a href="https://katie-glass.co.uk/" rel="nofollow noopener"&gt;https://katie-glass.co.uk/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Katie's articles for The Standard:&lt;br&gt;
&lt;a href="https://www.standard.co.uk/author/katie-glass" rel="nofollow noopener"&gt;https://www.standard.co.uk/author/katie-glass&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Katie's features and investigations:&lt;br&gt;
&lt;a href="https://katie-glass.co.uk/features.html" rel="nofollow noopener"&gt;https://katie-glass.co.uk/features.html&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;KATIE'S JOURNALISM MENTIONED IN THE EPISODE&lt;/p&gt;

&lt;p&gt;Yes, opera has an age problem — because society has an education problem&lt;/p&gt;

&lt;p&gt;The article that inspired our conversation, examining opera's ageing audience, arts education, reading and cultural confidence.&lt;br&gt;
&lt;a href="https://www.standard.co.uk/comment/opera-education-problem-b1293322.html" rel="nofollow noopener"&gt;https://www.standard.co.uk/comment/opera-education-problem-b1293322.html&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Katie's other writing&lt;/p&gt;

&lt;p&gt;Her work covers subjects including feminism and strip clubs, flower shows, class, and life during lockdown.&lt;br&gt;
&lt;a href="https://katie-glass.co.uk/" rel="nofollow noopener"&gt;https://katie-glass.co.uk/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Katie's reporting on the Post Office scandal&lt;/p&gt;

&lt;p&gt;Her account of reporting on the subpostmasters' experiences and the eventual television adaptation:&lt;br&gt;
&lt;a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener"&gt;https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;THE EUROVISION PERFORMANCES&lt;/p&gt;

&lt;p&gt;We encourage you to watch these performances before listening to our discussion.&lt;/p&gt;

&lt;ol&gt;
&lt;li&gt;Australia, 2019 — Kate Miller-Heidke, Zero Gravity&lt;/li&gt;
&lt;/ol&gt;

&lt;p&gt;A classically trained singer combining pop and operatic vocal technique with one of Eurovision's most spectacular staging concepts.&lt;/p&gt;

&lt;p&gt;Eurovision artist profile:&lt;br&gt;
&lt;a href="https://eurovision.tv/participant/kate-miller-heidke" rel="nofollow noopener"&gt;https://eurovision.tv/participant/kate-miller-heidke&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Performance video (ABC):&lt;br&gt;
&lt;a href="https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750" rel="nofollow noopener"&gt;https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750&lt;/a&gt;&lt;/p&gt;

&lt;ol&gt;
&lt;li&gt;Albania, 2012 — Rona Nishliu, Suus&lt;/li&gt;
&lt;/ol&gt;

&lt;p&gt;An intensely emotional performance, notable for its demanding vocal range, dramatic delivery and unusual musical structure.&lt;/p&gt;

&lt;p&gt;Eurovision 2012:&lt;br&gt;
&lt;a href="https://eurovision.tv/event/baku-2012" rel="nofollow noopener"&gt;https://eurovision.tv/event/baku-2012&lt;/a&gt;&lt;/p&gt;

&lt;ol&gt;
&lt;li&gt;Luxembourg, 1973 — Anne-Marie David, Tu te reconnaîtras&lt;/li&gt;
&lt;/ol&gt;

&lt;p&gt;The winning entry from 1973, performed with the live orchestra that was once central to Eurovision. We discuss its musical construction, David's voice and the commitment of the performance.&lt;/p&gt;

&lt;p&gt;Eurovision 1973:&lt;br&gt;
&lt;a href="https://eurovision.tv/event/luxembourg-1973" rel="nofollow noopener"&gt;https://eurovision.tv/event/luxembourg-1973&lt;/a&gt;&lt;/p&gt;

&lt;ol&gt;
&lt;li&gt;Ukraine, 2021 — Go_A, Shum&lt;/li&gt;
&lt;/ol&gt;

&lt;p&gt;A fusion of Ukrainian folk traditions and electronic music, featuring Kateryna Pavlenko's striking vocal technique.&lt;/p&gt;

&lt;p&gt;Official Eurovision profile, music video and lyrics:&lt;br&gt;
&lt;a href="https://eurovision.tv/participant/go-a-2021" rel="nofollow noopener"&gt;https://eurovision.tv/participant/go-a-2021&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;OTHER EUROVISION REFERENCES&lt;/p&gt;

&lt;p&gt;JJ — Wasted Love (Austria, 2025)&lt;/p&gt;

&lt;p&gt;Austria's Eurovision-winning operatic pop performance, discussed as an example of the crossover between classical singing and contemporary popular music.&lt;br&gt;
&lt;a href="https://eurovision.tv/event/basel-2025" rel="nofollow noopener"&gt;https://eurovision.tv/event/basel-2025&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Eurovision Song Contest 2022 — Turin&lt;/p&gt;

&lt;p&gt;The contest Bradley attended, and the starting point for our discussion of the practical costs of Eurovision tourism.&lt;br&gt;
&lt;a href="https://eurovision.tv/event/turin-2022" rel="nofollow noopener"&gt;https://eurovision.tv/event/turin-2022&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;OPERA, THEATRE AND CULTURAL INSTITUTIONS&lt;/p&gt;

&lt;p&gt;Glyndebourne&lt;/p&gt;

&lt;p&gt;The English opera festival that inspired Katie's article, famous for its productions, formal dress and long picnic interval.&lt;br&gt;
&lt;a href="https://www.glyndebourne.com/" rel="nofollow noopener"&gt;https://www.glyndebourne.com/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Glyndebourne Encore — watch recorded productions:&lt;br&gt;
&lt;a href="https://www.glyndebourne.com/encore/" rel="nofollow noopener"&gt;https://www.glyndebourne.com/encore/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Marquee TV&lt;/p&gt;

&lt;p&gt;The streaming service Bradley mentions for watching opera, theatre, dance and other performances at home.&lt;br&gt;
&lt;a href="https://www.marquee.tv/" rel="nofollow noopener"&gt;https://www.marquee.tv/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Royal Opera House / Royal Ballet and Opera:&lt;br&gt;
&lt;a href="https://www.rbo.org.uk/" rel="nofollow noopener"&gt;https://www.rbo.org.uk/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Los Angeles Opera:&lt;br&gt;
&lt;a href="https://www.laopera.org/" rel="nofollow noopener"&gt;https://www.laopera.org/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;British Museum:&lt;br&gt;
&lt;a href="https://www.britishmuseum.org/" rel="nofollow noopener"&gt;https://www.britishmuseum.org/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Royal Horticultural Society — Chelsea Flower Show:&lt;br&gt;
&lt;a href="https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show" rel="nofollow noopener"&gt;https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;FESTIVALS, AUDIENCES AND ACCESSIBILITY&lt;/p&gt;

&lt;p&gt;Glastonbury Festival&lt;/p&gt;

&lt;p&gt;Katie compares the cost and cultural identity of attending Glastonbury with Eurovision and opera.&lt;br&gt;
&lt;a href="https://www.glastonburyfestivals.co.uk/" rel="nofollow noopener"&gt;https://www.glastonburyfestivals.co.uk/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Burning Man&lt;/p&gt;

&lt;p&gt;Another event discussed in relation to the financial and cultural commitments involved in attending.&lt;br&gt;
&lt;a href="https://burningman.org/" rel="nofollow noopener"&gt;https://burningman.org/&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;THE BRITISH POST OFFICE SCANDAL&lt;/p&gt;

&lt;p&gt;Katie's investigation focused on the human consequences of the Horizon scandal, in which subpostmasters were wrongly accused of financial wrongdoing following problems with the Post Office's accounting system.&lt;/p&gt;

&lt;p&gt;We discuss the loss of livelihoods, reputations, homes and community standing, and the importance of telling the personal stories behind a complicated institutional failure.&lt;/p&gt;

&lt;p&gt;Mr Bates vs The Post Office — ITV:&lt;br&gt;
&lt;a href="https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469" rel="nofollow noopener"&gt;https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;ITV production press pack:&lt;br&gt;
Includes producer Natasha Bondy's account of reading Katie's article and recognising that the story needed a dramatic adaptation.&lt;br&gt;
&lt;a href="https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf" rel="nofollow noopener"&gt;https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Katie's first-person account of the reporting and the drama:&lt;br&gt;
&lt;a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener"&gt;https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html&lt;/a&gt;&lt;/p&gt;

&lt;p&gt;Eurovision Song Context:&lt;br&gt;
&lt;a href="https://eurovisionsongcontext.fireside.fm/" rel="nofollow noopener"&gt;https://eurovisionsongcontext.fireside.fm/&lt;/a&gt;&lt;/p&gt;</description>
  <itunes:keywords>Eurovision Song Contest, Eurovision, ESC, Eurovision Song Context, Katie Glass, opera, classical music, high culture, popular culture, arts education, cultural accessibility, class, cultural elitism, reading, Glyndebourne, Kate Miller-Heidke, Zero Gravity, Australia 2019, Rona Nishliu, Suus, Albania 2012, Anne-Marie David, Tu te reconnaîtras, Luxembourg 1973, Go_A, Shum, Ukraine 2021, operatic pop, Eurovision ticket prices, British Post Office scandal, Mr Bates vs The Post Office, journalism</itunes:keywords>
  <content:encoded>
    <![CDATA[<p>ABOUT KATIE GLASS</p>

<p>Katie's website:<br>
<a href="https://katie-glass.co.uk/" rel="nofollow noopener">https://katie-glass.co.uk/</a></p>

<p>Katie's articles for The Standard:<br>
<a href="https://www.standard.co.uk/author/katie-glass" rel="nofollow noopener">https://www.standard.co.uk/author/katie-glass</a></p>

<p>Katie's features and investigations:<br>
<a href="https://katie-glass.co.uk/features.html" rel="nofollow noopener">https://katie-glass.co.uk/features.html</a></p>

<p>KATIE'S JOURNALISM MENTIONED IN THE EPISODE</p>

<p>Yes, opera has an age problem — because society has an education problem</p>

<p>The article that inspired our conversation, examining opera's ageing audience, arts education, reading and cultural confidence.<br>
<a href="https://www.standard.co.uk/comment/opera-education-problem-b1293322.html" rel="nofollow noopener">https://www.standard.co.uk/comment/opera-education-problem-b1293322.html</a></p>

<p>Katie's other writing</p>

<p>Her work covers subjects including feminism and strip clubs, flower shows, class, and life during lockdown.<br>
<a href="https://katie-glass.co.uk/" rel="nofollow noopener">https://katie-glass.co.uk/</a></p>

<p>Katie's reporting on the Post Office scandal</p>

<p>Her account of reporting on the subpostmasters' experiences and the eventual television adaptation:<br>
<a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener">https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html</a></p>

<p>THE EUROVISION PERFORMANCES</p>

<p>We encourage you to watch these performances before listening to our discussion.</p>

<ol>
<li>Australia, 2019 — Kate Miller-Heidke, Zero Gravity</li>
</ol>

<p>A classically trained singer combining pop and operatic vocal technique with one of Eurovision's most spectacular staging concepts.</p>

<p>Eurovision artist profile:<br>
<a href="https://eurovision.tv/participant/kate-miller-heidke" rel="nofollow noopener">https://eurovision.tv/participant/kate-miller-heidke</a></p>

<p>Performance video (ABC):<br>
<a href="https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750" rel="nofollow noopener">https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750</a></p>

<ol>
<li>Albania, 2012 — Rona Nishliu, Suus</li>
</ol>

<p>An intensely emotional performance, notable for its demanding vocal range, dramatic delivery and unusual musical structure.</p>

<p>Eurovision 2012:<br>
<a href="https://eurovision.tv/event/baku-2012" rel="nofollow noopener">https://eurovision.tv/event/baku-2012</a></p>

<ol>
<li>Luxembourg, 1973 — Anne-Marie David, Tu te reconnaîtras</li>
</ol>

<p>The winning entry from 1973, performed with the live orchestra that was once central to Eurovision. We discuss its musical construction, David's voice and the commitment of the performance.</p>

<p>Eurovision 1973:<br>
<a href="https://eurovision.tv/event/luxembourg-1973" rel="nofollow noopener">https://eurovision.tv/event/luxembourg-1973</a></p>

<ol>
<li>Ukraine, 2021 — Go_A, Shum</li>
</ol>

<p>A fusion of Ukrainian folk traditions and electronic music, featuring Kateryna Pavlenko's striking vocal technique.</p>

<p>Official Eurovision profile, music video and lyrics:<br>
<a href="https://eurovision.tv/participant/go-a-2021" rel="nofollow noopener">https://eurovision.tv/participant/go-a-2021</a></p>

<p>OTHER EUROVISION REFERENCES</p>

<p>JJ — Wasted Love (Austria, 2025)</p>

<p>Austria's Eurovision-winning operatic pop performance, discussed as an example of the crossover between classical singing and contemporary popular music.<br>
<a href="https://eurovision.tv/event/basel-2025" rel="nofollow noopener">https://eurovision.tv/event/basel-2025</a></p>

<p>Eurovision Song Contest 2022 — Turin</p>

<p>The contest Bradley attended, and the starting point for our discussion of the practical costs of Eurovision tourism.<br>
<a href="https://eurovision.tv/event/turin-2022" rel="nofollow noopener">https://eurovision.tv/event/turin-2022</a></p>

<p>OPERA, THEATRE AND CULTURAL INSTITUTIONS</p>

<p>Glyndebourne</p>

<p>The English opera festival that inspired Katie's article, famous for its productions, formal dress and long picnic interval.<br>
<a href="https://www.glyndebourne.com/" rel="nofollow noopener">https://www.glyndebourne.com/</a></p>

<p>Glyndebourne Encore — watch recorded productions:<br>
<a href="https://www.glyndebourne.com/encore/" rel="nofollow noopener">https://www.glyndebourne.com/encore/</a></p>

<p>Marquee TV</p>

<p>The streaming service Bradley mentions for watching opera, theatre, dance and other performances at home.<br>
<a href="https://www.marquee.tv/" rel="nofollow noopener">https://www.marquee.tv/</a></p>

<p>Royal Opera House / Royal Ballet and Opera:<br>
<a href="https://www.rbo.org.uk/" rel="nofollow noopener">https://www.rbo.org.uk/</a></p>

<p>Los Angeles Opera:<br>
<a href="https://www.laopera.org/" rel="nofollow noopener">https://www.laopera.org/</a></p>

<p>British Museum:<br>
<a href="https://www.britishmuseum.org/" rel="nofollow noopener">https://www.britishmuseum.org/</a></p>

<p>Royal Horticultural Society — Chelsea Flower Show:<br>
<a href="https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show" rel="nofollow noopener">https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show</a></p>

<p>FESTIVALS, AUDIENCES AND ACCESSIBILITY</p>

<p>Glastonbury Festival</p>

<p>Katie compares the cost and cultural identity of attending Glastonbury with Eurovision and opera.<br>
<a href="https://www.glastonburyfestivals.co.uk/" rel="nofollow noopener">https://www.glastonburyfestivals.co.uk/</a></p>

<p>Burning Man</p>

<p>Another event discussed in relation to the financial and cultural commitments involved in attending.<br>
<a href="https://burningman.org/" rel="nofollow noopener">https://burningman.org/</a></p>

<p>THE BRITISH POST OFFICE SCANDAL</p>

<p>Katie's investigation focused on the human consequences of the Horizon scandal, in which subpostmasters were wrongly accused of financial wrongdoing following problems with the Post Office's accounting system.</p>

<p>We discuss the loss of livelihoods, reputations, homes and community standing, and the importance of telling the personal stories behind a complicated institutional failure.</p>

<p>Mr Bates vs The Post Office — ITV:<br>
<a href="https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469" rel="nofollow noopener">https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469</a></p>

<p>ITV production press pack:<br>
Includes producer Natasha Bondy's account of reading Katie's article and recognising that the story needed a dramatic adaptation.<br>
<a href="https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf" rel="nofollow noopener">https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf</a></p>

<p>Katie's first-person account of the reporting and the drama:<br>
<a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener">https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html</a></p>

<p>Eurovision Song Context:<br>
<a href="https://eurovisionsongcontext.fireside.fm/" rel="nofollow noopener">https://eurovisionsongcontext.fireside.fm/</a></p>]]>
  </content:encoded>
  <itunes:summary>
    <![CDATA[<p>ABOUT KATIE GLASS</p>

<p>Katie's website:<br>
<a href="https://katie-glass.co.uk/" rel="nofollow noopener">https://katie-glass.co.uk/</a></p>

<p>Katie's articles for The Standard:<br>
<a href="https://www.standard.co.uk/author/katie-glass" rel="nofollow noopener">https://www.standard.co.uk/author/katie-glass</a></p>

<p>Katie's features and investigations:<br>
<a href="https://katie-glass.co.uk/features.html" rel="nofollow noopener">https://katie-glass.co.uk/features.html</a></p>

<p>KATIE'S JOURNALISM MENTIONED IN THE EPISODE</p>

<p>Yes, opera has an age problem — because society has an education problem</p>

<p>The article that inspired our conversation, examining opera's ageing audience, arts education, reading and cultural confidence.<br>
<a href="https://www.standard.co.uk/comment/opera-education-problem-b1293322.html" rel="nofollow noopener">https://www.standard.co.uk/comment/opera-education-problem-b1293322.html</a></p>

<p>Katie's other writing</p>

<p>Her work covers subjects including feminism and strip clubs, flower shows, class, and life during lockdown.<br>
<a href="https://katie-glass.co.uk/" rel="nofollow noopener">https://katie-glass.co.uk/</a></p>

<p>Katie's reporting on the Post Office scandal</p>

<p>Her account of reporting on the subpostmasters' experiences and the eventual television adaptation:<br>
<a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener">https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html</a></p>

<p>THE EUROVISION PERFORMANCES</p>

<p>We encourage you to watch these performances before listening to our discussion.</p>

<ol>
<li>Australia, 2019 — Kate Miller-Heidke, Zero Gravity</li>
</ol>

<p>A classically trained singer combining pop and operatic vocal technique with one of Eurovision's most spectacular staging concepts.</p>

<p>Eurovision artist profile:<br>
<a href="https://eurovision.tv/participant/kate-miller-heidke" rel="nofollow noopener">https://eurovision.tv/participant/kate-miller-heidke</a></p>

<p>Performance video (ABC):<br>
<a href="https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750" rel="nofollow noopener">https://www.abc.net.au/news/2019-05-19/kate-miller-heidke-performs-zero-gravity-at/11127750</a></p>

<ol>
<li>Albania, 2012 — Rona Nishliu, Suus</li>
</ol>

<p>An intensely emotional performance, notable for its demanding vocal range, dramatic delivery and unusual musical structure.</p>

<p>Eurovision 2012:<br>
<a href="https://eurovision.tv/event/baku-2012" rel="nofollow noopener">https://eurovision.tv/event/baku-2012</a></p>

<ol>
<li>Luxembourg, 1973 — Anne-Marie David, Tu te reconnaîtras</li>
</ol>

<p>The winning entry from 1973, performed with the live orchestra that was once central to Eurovision. We discuss its musical construction, David's voice and the commitment of the performance.</p>

<p>Eurovision 1973:<br>
<a href="https://eurovision.tv/event/luxembourg-1973" rel="nofollow noopener">https://eurovision.tv/event/luxembourg-1973</a></p>

<ol>
<li>Ukraine, 2021 — Go_A, Shum</li>
</ol>

<p>A fusion of Ukrainian folk traditions and electronic music, featuring Kateryna Pavlenko's striking vocal technique.</p>

<p>Official Eurovision profile, music video and lyrics:<br>
<a href="https://eurovision.tv/participant/go-a-2021" rel="nofollow noopener">https://eurovision.tv/participant/go-a-2021</a></p>

<p>OTHER EUROVISION REFERENCES</p>

<p>JJ — Wasted Love (Austria, 2025)</p>

<p>Austria's Eurovision-winning operatic pop performance, discussed as an example of the crossover between classical singing and contemporary popular music.<br>
<a href="https://eurovision.tv/event/basel-2025" rel="nofollow noopener">https://eurovision.tv/event/basel-2025</a></p>

<p>Eurovision Song Contest 2022 — Turin</p>

<p>The contest Bradley attended, and the starting point for our discussion of the practical costs of Eurovision tourism.<br>
<a href="https://eurovision.tv/event/turin-2022" rel="nofollow noopener">https://eurovision.tv/event/turin-2022</a></p>

<p>OPERA, THEATRE AND CULTURAL INSTITUTIONS</p>

<p>Glyndebourne</p>

<p>The English opera festival that inspired Katie's article, famous for its productions, formal dress and long picnic interval.<br>
<a href="https://www.glyndebourne.com/" rel="nofollow noopener">https://www.glyndebourne.com/</a></p>

<p>Glyndebourne Encore — watch recorded productions:<br>
<a href="https://www.glyndebourne.com/encore/" rel="nofollow noopener">https://www.glyndebourne.com/encore/</a></p>

<p>Marquee TV</p>

<p>The streaming service Bradley mentions for watching opera, theatre, dance and other performances at home.<br>
<a href="https://www.marquee.tv/" rel="nofollow noopener">https://www.marquee.tv/</a></p>

<p>Royal Opera House / Royal Ballet and Opera:<br>
<a href="https://www.rbo.org.uk/" rel="nofollow noopener">https://www.rbo.org.uk/</a></p>

<p>Los Angeles Opera:<br>
<a href="https://www.laopera.org/" rel="nofollow noopener">https://www.laopera.org/</a></p>

<p>British Museum:<br>
<a href="https://www.britishmuseum.org/" rel="nofollow noopener">https://www.britishmuseum.org/</a></p>

<p>Royal Horticultural Society — Chelsea Flower Show:<br>
<a href="https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show" rel="nofollow noopener">https://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show</a></p>

<p>FESTIVALS, AUDIENCES AND ACCESSIBILITY</p>

<p>Glastonbury Festival</p>

<p>Katie compares the cost and cultural identity of attending Glastonbury with Eurovision and opera.<br>
<a href="https://www.glastonburyfestivals.co.uk/" rel="nofollow noopener">https://www.glastonburyfestivals.co.uk/</a></p>

<p>Burning Man</p>

<p>Another event discussed in relation to the financial and cultural commitments involved in attending.<br>
<a href="https://burningman.org/" rel="nofollow noopener">https://burningman.org/</a></p>

<p>THE BRITISH POST OFFICE SCANDAL</p>

<p>Katie's investigation focused on the human consequences of the Horizon scandal, in which subpostmasters were wrongly accused of financial wrongdoing following problems with the Post Office's accounting system.</p>

<p>We discuss the loss of livelihoods, reputations, homes and community standing, and the importance of telling the personal stories behind a complicated institutional failure.</p>

<p>Mr Bates vs The Post Office — ITV:<br>
<a href="https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469" rel="nofollow noopener">https://www.itv.com/watch/mr-bates-vs-the-post-office/10a0469</a></p>

<p>ITV production press pack:<br>
Includes producer Natasha Bondy's account of reading Katie's article and recognising that the story needed a dramatic adaptation.<br>
<a href="https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf" rel="nofollow noopener">https://www.itv.com/presscentre/presscentre/sites/default/files/2023-12/ITV%20Mr%20Bates%20vs%20the%20Post%20Office%20Press%20Pack.pdf</a></p>

<p>Katie's first-person account of the reporting and the drama:<br>
<a href="https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html" rel="nofollow noopener">https://www.the-independent.com/news/post-office-inquiry-alan-bates-b2525638.html</a></p>

<p>Eurovision Song Context:<br>
<a href="https://eurovisionsongcontext.fireside.fm/" rel="nofollow noopener">https://eurovisionsongcontext.fireside.fm/</a></p>]]>
  </itunes:summary>
</item>
  </channel>
</rss>
