By Stephen Pollard, March 15, 2012
I cannot recall a new opera being more comprehensively trashed by critics than Judith Weir's Miss Fortune.
It stands accused of almost every flaw an opera can have: a feeble plot, derivative music, a static production, badly drawn characters and a banal libretto.
Yet the reaction from the first-night audience was very warm, with full-throated bravos and cheers.
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