“The truth is on the march and I will stop it”
Do any of you out there ever wonder exactly what it is an “Artistic Administrator” does — I mean, besides collecting an annual salary and refusing to hear auditions? Well, finally La Cieca has uncovered at least part of the job description. An Artistic Administrator (for example, Diane Zola of the Houston Grand Opera) is a sort of lackey to the lawyers who run the opera company, assigned to such busywork as writing threatening letters to poor powerless bloggers like La Cieca:
Date: Tue, 14 Mar 2006 10:05:18
From: Diane Zola
To: lacieca@parterre.com, copyright@youtube.com
Cc: [redacted]
Subject: Copyright Infringement
This e-mail serves written notice of copyright infringement regarding the video entitled “Sempre Fleming” located on your site at the following URL: http://www.youtube.com/watch?v=q5Ix9vDQyt8&search=Traviata. Houston Grand Opera demands that the video be removed from this site immediately, and that the User, La Cieca, cease and desist from all current and future unauthorized use of this video in perpetuity. Houston Grand Opera asserts in good faith that it is the owner of the copyright to this video excerpt of its live performance of LA TRAVIATA, and that it has not authorized the offending party to display this video in any format. Legal action against your site and the offending party will be taken if the video is not immediately removed. The above information is accurate, and I aver that I am authorized to act on behalf of Houston Grand Opera to protect its copyright against such infringement.
Sincerely, Diane Zola
Artistic Administrator
Houston Grand Opera
E-mail: dzola@houstongrandopera.org
Ph: 713-546-0293
Naturally La Cieca has removed the video, if only so that Ms. Zola can get back to planning the 2011-12 season.
In a famous interview Gina Cigna gave Gencer a nasty dig. She told a story of how they were both being interviewed during the 77 Norma with Caballe and Troyanos at La Scala, Gencer asked Cigna if she had sung Norma, Cigna said she responded by saying “only about 500 times” and then went on to say,(a true bigot) after all “she is Turkish” Gencer by the way was half Italian and Half Turkish from what I understand.
Gencer sang “Lucrezia Borgia” in the US…in Dallas… as a sub for the ailing Sills. The public had bought tickets expecting Sills. The cognoscenti were thrilled to get Gencer. ((If I remember correctly, this 1973 performance also starred Carreras and Troyanos.))
I had a ticket, but I couldn’t drive the 200 miles to Dallas and back because of a family emergency. I have always regretted missing my one and only chance to see Gencer…especially in a rare bel canto revivial.
Somehow I seem to remember that Gencer sang Lucia in San Francisco way back when.
Tebaldi recorded the Nabucco, Norma, Puritani etc arias in 1968 in what was supposed to be more of trial session and she did not approve their issuance for many years. I guess eventually she was talked into it, or perhaps she lost the rights to stop their release. It was the wrong repertoire for her but she was savvy about making the best of any situation. In spite of her – unwarranted – reputation as a lackaidaisical actrees, she could chew up the scenery quite well when needed and knew how to milk a good line for all it had.
I really believe that any seasoned Diva OR Divo is well capable of doing a little scene munching!
I sure can !
ITDG–Bravo!
We fans do love a bloody good rivalry whether it’s real or just in our minds. When I was a high school student (in the “dark agesâ€) it was a known fact that I was a little opera princess and that I idolized Callas. A friend of mine who idolized Tabaldi signed my graduation year book in LARGE LETTERS with “Viva Renata Tabaldi!†I, alas, did not get a chance to reciprocate!
Well just a few comments…
Having previously worked in an artistic administration office in a major opera company here in the US, please give Diane a break. I’ve worked with her before and she’s really a sweetheart. She’s also seen both sides of the fences having previously been a manager before joining up with Houston.
In general, Artistic Administrators get little respect. They’re always in the middle. They are not usually given free reign to make decision on about productions and personnel and yet are responsible to everyone for everything. No power and yet all the problems to deal with. And despite all the BS they put up with, they’re usually very generous people.
Frankly you should show her a little respect for trying to do her job. In between all the crap she probably has to put up with everyday (opera people, including those who just work for the company, have amazing egos and tempers – the drama) and especially the parade of bad singers she has to wade through on a regular basis (oh my ears bled sometimes on audition days) she has a lot to deal with. Houston has every right to protect their product (although using the clip in this way may be considered fair use – but I’m not a lawyer). Don’t be bitter La Cieca. Remember, royalty is as royalty does.