Wanderjahr
La Cieca has obtained exclusive video footage of a presentation by Susan L. Baker, chairwoman of the New York City Opera, announcing plans for the company's 2008-2009 "season."
NYCO's announcement, dumped into the scarcely-read Saturday Times, would seem to indicate that our speculation of the past couple of weeks was, in fact, accurate.
NYCO's announcement, dumped into the scarcely-read Saturday Times, would seem to indicate that our speculation of the past couple of weeks was, in fact, accurate.
Labels: 2008, 2009, la cieca ci guarda la cieca ci vede, nyco, nyt
POSTED at
10:05 AM
15 Comments:
Yep, and today I received a letter from Mortier stating that 2008/9 will be a "non-traditional" season with works semi-staged and in concert versions throughout the city with details in the "coming weeks."
“If we need to be dark to get to a point where Gérard is happy and convinced that he gets what he needs, that’s O.K,” she said.
I'm glad Ms. Baker knows what the priorities are.
Surely City Opera could've done a better job shaping their story. To allow the announcement to go out without telling what their off site events will be - or even to give the impression that they are equal partners with City Ballet is a terrible misstep. Hopefully in this upcoming "down" year they can all learn to stay on message and be enthusiastic about what they're doing.
The problem there is that they have a weak board and no management and so the inexperienced Ms. Baker and the inexperienced (in the ways of US opera and especially New York opera) Mr. Mortier are just running on the seat of their pants. Afterall, his hiring was done at a dinner where they met for the first time and she was "enchanted."
This has "Keystone Kops" written all over it.
Well, I must agree the press on this has been absolutely poorly handled. Mortier's erudite "You don't know what I know" attitude seeps thru every press release. However, I think given the circumstances the potential of this idea is Limitless. It also gives a chance to Mortier to start shaping the core company and feature some Major artists.
City Opera is at a unique disadvantage with the MET as its neighbor. Getting away from the Lincoln Center could be a bold move and an exciting one even though I doubt they realize the advantages.
So not that anyone gives a Shit but here would be my recommendations:
There are so may theaters on Broadway that are dark now it could be an excellent chance to use a semistaged version of Menotti's Consul, I mean it seems Lauren Flannigan would be a likely and fabulous choice for Magda. A short semi staged run, say 12 performances brings a new audience mingled with City Opera's followers.
Utilization of BAM's Harvey Theater for a Handel Opera is Brilliant. I will never forget David Daniels star turn in Poppea nearly 10 years ago there.
A standard work in Carnegie Hall, what about Tosca, Boheme, Rigoletto orTraviata etc?
A Chamber work at the 92nd street Y
Something at the Armory,
Even the MET museum has the wonderful space in the MEdieval sculpture Hall which could be utilized beautifully with that gorgeous metal ornate screen for something Rossini or Donizetti with a few Queens in it. Maybe aL'assedio di Corinto or Il Siege du Corinthe. Or one of the 3 Queens Trilogy in honor of Sills.
Theaters at CUNY Brooklyn and Queens College could as well be Utilized offering a chance to build a student audience much like their opera for all series.
The opportunities it presents I feel far outweigh the challenges. I hope the artistic team realize that they have a Golden opportunity for audience building and diversified artistic visions.
Any other ideas?
I've said it before, Mortier is going to be an absolute disaster!! I am sure the music critics will come in their pants over his 20th Century season but he won't sell many tickets. He doesn't understand American artistic institutions and he has a grade-A enabler in Susan Baker, who seems perfectly willing to stand by and watch him destroy NYCO. I heard him give a talk to potential donors a few weeks back and I was appalled by his cavalier attitude. He was very charming (in that somewhat condescending French way) but he basically said this was the last adventure of his life and if it didn't work out-- shoulder shrug-- he would just go back to Europe and lead a perfectly happy life. But what about the wreckage he would leave behind??
And the reason they didn't announce any specifics about 2008/9 is because there aren't any!! No contracts have been signed for next year!! Nothing!!!
Peter Gelb must be over the moon more and more every day.
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Gianni should be hired by Mortier. Excellent ideas all. Brava La Cieca for your intrepid reporting. Unfortunately NYCO has hired another non-adept at real P.R. The handling of the upcoming season was a real disaster. I have seen a few a Paris productions under Morier's regime that I liked, but the fumbling of this opportunity to manipulate the press to his advantage was a complete debacle. Say what you will about Gelb, but he would have headed the rumors off at the pass and would have had the unfortunate artists that may or not be working next season thinking that they were lucky to be a part of an innovative and exciting semi-season. Geesh to let it get to the point where the public was SERIOUSLY debating the viability of that house makes me think that despite the fabulous (on paper that is - we still have to see who he hires to produce) all 20th century - Mr. Mortier and the board are CLUELESS!! It makes me think that a lot of his detracters sound very right. Bad "regie-theatre" is not going to help the sad state of NYCO. We must remember he has had more misses than hits in Paris. If he were smart he would just borrow productions from Europe that are proven successes. Lord knows what seems to be standard in Europe will seem avant-garde to the mostly conservative public here. Take note from Gelb. He has jumped all over and claimed responsibility for all the hits at the Met that were planned before he got there.
Oh, this is really depressing. It's really a shame because if handled correctly, NYCO could be such a great place to launch major careers. A featured artist a month, or something insane. I don't know. I feel really bad for all the singers who were counting on work there and now aren't going to get it. What is WRONG with them??????? I mean, I know that they squander most of the good singers that work there, and totally under appreciate them, but how how HOW could they be so foolish to allow such a corruption of their image? Oy VEY AND Gevalt!!!!! They are just losing all credibility. Has George Manahan had anything to say about this? Doesn't he seem conspicuously silent in all this?
“If we need to be dark to get to a point where Gérard is happy and convinced that he gets what he needs, that’s O.K,” she said.
Susan Baker is clearly used to her money opening whatever doors need to be opened, consequences be damned. She also cavalierly dismissed the idea that NYCO's mission to present American singers had any continued relevance. Nor has anyone explained how the transition between repertory and stagione is going to impact their subscription base, or what will pay the rent at the State Theater when it's not in use.
Baker has clearly put all her clout behind Mortier, and everyone and everything been damned.
"No contracts have been signed for next year!! Nothing!!!"
What about that matter of Mortier's own contract, has he signed it yet?
Here's where Baker said (Dec. 7), "Mr. Mortier is days away from signing a contract" -- http://www.bloomberg.com/apps/news?pid=20601088&refer=muse&sid=aImoAYzGgUQM
"Mortier days away from signing a contract":
http://www.google.com/search?hl=en&q=%22Mortier+is+days+
away+from+signing+a+contract%22
http://tinyurl.com/2g7urr
Points for the record:
We have had repeated posts about Ms Baker's "dinner" with Mortier. It was -- for what it's worth -- a lunch, at Jean-Georges.
"Sterlingkay" raves on about what a "disaster" Mortier is going to be. But she doesn't even get basic facts straight. She carries on with ignorant Bush-like prejudice about his French ways. He is not remotely French, but Flemish -- a VERY different thing.
The spewing of venom attacking what one doesn't know is not attractive. Doubts about the unknown are natural. But there are many opportunities for City Opera. I was quite negative (though not noisy) about Gelb's appointment, having worked for him in the past. At the moment, the Met is full of people, which is certainly something in his favor. Give these folks a break. I have the feeling that lots of people here think they could run an opera company. Sheer naïveté.
Dirkva---
You are, of course, correct, Mortier is Flemmish...and still very condescending.
As for fearing the UNKNOWN, I beg to differ. I have lived half the year in Paris for the last ten years and have seen enough of the monstrosities Mortier has perpetrated to understand full well what his aesthetic is. At the talk I attended, he mentioned the same European stage directors he championed in Paris as his "wish list" for NYCO. I repeat, he will be (actually, already is) a DISASTER!!
Instead of an all "modern" opera schedule, has NYCO thought of an all "American" opera schedule?
It would sell out!
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