Recent articles in The Times have chronicled the latest in New York City Opera drama.
On Friday, T-Bone Tommasini wrote in-depth regarding Mortier’s troublesome relationship with the board of the City Opera. Chairwoman Susan Baker made some reassuring comments, confirming that the board is “galvanized” around a series of proposals Mortier made during a recent meeting, and that patron money is still coming in.
But the very next day, word came that the company layed off 11 administrators at the same time Jane Gulong, their executive director, decided to leave since Mortier “effectively eliminated her job.”
It’s amazing how much the trials of the City Opera are mirroring a political campaign/election. Mortier is being called on to show face and sell his agenda during a time when the organization seems to be facing political and financial crisis. Mortier’s flirtation with the Bayreuth Festival certainly didn’t help consumer confidence.
The City Opera hopes this season’s main performance fare, “Looking Forward”, a series of low-cost concerts in each borough, will foster community interest in the 20th century program Mortier has planned for his first full season in 2009-2010.
In a performance review today, Anthony Tommasini expresses doubt that it will do the trick, but thought Saturday night’s Staten Island installment proved that at least the performers of the New York City Opera are still eager to put on a show. NYCO Director of Media Relations Pascal Nadon confirms that Mr. Mortier was not in attendance, although it’s been said that Mortier will only spend a few weeks of the entire season in New York.
It’s also telling that some of the big developments in this saga, like the firing of staff members and even early rumors that Mortier was looking for jobs outside of his City Opera gig, have only come to light after prodding from the press, or at the very least, well after rumors had begun flying. It’s understandable that organizations–like campaigns–try to keep these kinds of twists and turns, many of them unpredictable, under tight control. But this task becomes less and less manageable with each surprise plot twist.
At this point, anything the City Opera can do to convince the public that the organization isn’t going to implode and disappear through some parallel dimension Carrie-style vortex, is much welcome.
The next “Looking Forward” is coming to Brooklyn on November 2. Let’s hope audience interest, administrative leadership, and fiscal liquidity, can last that long.
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[...] the rival companies. If the opera world gets Gelb vs. Mortier (assuming Mortier ever actually makes up his mind to come to New York City Opera), why can’t we have a little fun, too? Lincoln Center already [...]