The interview with Peter Fenech (April 23) makes sad and disheartening reading. Coming from the chairman of two of our main cultural institutions such comments should be considered carefully.

Yet, there are two slight anomalies in the whole argument, namely that most music productions at the Manoel Theatre are struggling and that most musical productions anywhere else are not. If public image, critical reviews and actually going to the theatre are anything to go by then, yes, the Manoel Theatre is in a crisis. Those "dwindling 700" are but the remains of the now legendary "fur-brigade" that go to the theatre to be seen.

To say that no one is interested in opera shows a complete ignorance of the local market. Granted, it may not be the most popular art form but, as the Gozo operas show, there is still a strong local demand for opera. So why are people willing to cross the channel in mid-October and reluctant to make a 10-minute drive into Valletta? The answer is simple: The Gozo operas have built a solid reputation and worked hard at creating an audience. They might not be the most exciting of productions but they perform miracles on a limited budget. The Manoel Theatre not only has government funding but also private sponsorship for opera and all it can do is sit in a corner and bemoan its fate.

What is even stranger is that the children's adaptation of The Magic Flute in 2007 at the Manoel itself had packed nights, so if we can get eight-year-olds to enjoy Mozart, why cannot the theatre get adults? Is it perhaps a case of the productions simply not being interesting and of quality? And if we are lacking in "technical staff", what is the Manoel Theatre doing to address that need?

I can understand perfectly the argument that another opera house is not feasible but what about a multi-purpose hall which can host bigger-scale productions ranging from concerts to operas to live gigs? And, as for the Manoel, if it prides itself in being a Baroque theatre, where is its Baroque programme? And by Baroque, I do not mean frilly costumes and wooden acting but exciting updated versions of Baroque masterpieces that would work perfectly within the space.

It is not just lateral thinking that is needed but good management and fresh ideas. It is patronising and elitist to say that "people are only prepared to criticise". Anyone has the right to criticise and, surprising as it may seem to Dr Fenech, people criticise because they have actually attended or taken part in performances at the Manoel Theatre.

One certainly cannot judge on simply one performance but when one is faced with the same mediocre levels, the same self-pitying arguments and the same stubbornness year-in year-out, then, yes, one is more than justified to criticise and look elsewhere.