What was or ... what wasn't

The sudden resignation of the whole Opera management is rocking the boat a bit. Initially, somebody, who has been following the whole developments, could make an estimated guess of what went on - an those, who had more first-hand accounts were fairly informed.

Today brought (finally) a certain reaction by the General Manager Ms. Hroncová, who after 4 opera managers in 3 years, finally stepped down herself. Every person deserves a chance to give his or her view on the matter, at least to help us getting a more balanced conclusion of the whole thing. So more than glad to read the interview.

While in some of my earlier blogs, I have pointed out the desperate lack of any official information, giving the Slovak National Theatre (and it's Opera) a misty and secretive wall around it. The communication with the public has always been a neglected issue. Does it matter? A shareholder of any kind of company has obviously the right to know - to a certain extent decide - on management matters. The National Theatre is a public institution, financed with tax-payers' revenues, and therefore; yes, we have the right to know.

The demise of the first three managers, followed by the resignation of Ms. Hroncová has until today still no clear (or official) explanation. Either the parties keep quiet, or express a vague argument, which could be interpreted either way.

Ms. Hroncová has expressed and stressed foremost all her positive results during her 3 year reign. Higher profits than ever before. But who can tell, if all of it is continuously kept suspiciously secret? Was it really such a good result, held back by 'conservative forces within the organisation', or wasn't it? That is in fact the whole problem of the Opera and the National Theatre. Nobody can tell, as all is kept behind the doors of the Ministry of Culture.

Such interviews are therefore a bit pathetic, as this shrouded mystery is the biggest problem (of all the institutions - Radio Symphony, Philharmonic, State Television). Moreover, it's in a legal sense a faux pas. It's sometimes hard to understand, how this keeps on persisting. Twenty years after getting rid of communist rule, culture is still a hostage of the same clique.

MS

Drama at the Opera...

The Slovak National Opera is not blessed with success. To the contrary; it is haunted with resignations, sloppiness and incompetent management(s). Indeed managements - in plural! Ever since I have arrived in Slovakia (only in 2006), the opera has had 4 managers [sic]. Breath deeply and calm down. Yes, you calculated right, 3 years with 4 managers. Not that health reasons overtook the abilities of the said people, or that they reached retirement age. Simply, the general manager of the Slovak National Theatre (under which the State Opera falls) seemed to have an unusual craving for changing her staff a bit. Last week, all of a sudden the new manager (only to accept his job in May) resigned together with the director and chief-conductor. This was an act mutiny at its best.

It shall not be my intention to reiterate what I have written earlier in my blog on earlier decisions and management styles within the SNT/SO, but this development is too grave to let it pass without a comment. In all honesty, because of these former developments, I have somehow completely lost interest in this Opera house. Yet the news of the threesome demise caused a kind of "Andropov-Chernenko"-reaction in me. Perhaps you remember, Andropov who took over from Brezhnev suddenly died a year after in office. The joke went that watching the state funeral (first B. then A.) that people were a bit disappointed, and wouldn't plan to attend next year's funeral. How we laughed about this wry "wishful" thinking... until it indeed happened!

The fact that the SO-manager Mr Smolík's decision was taken so soon (just about 3 months) was indeed a blow of shock. While doing some correspondence, I saw my twitter-bar message appearing and was practically nailed to the ground.

Mr. Smolík was hailed in as the new manager by Ms. Hroncová, as he has shown the best worked out concept for the future of the Opera. It must be said, that at least Mr. Smolík has gotten this post through a public selection procedure - contrary to the previous selections, who were personally hand picked by Ms. Hroncová, which was, to say the least, not according to legal regulations regarding functions in public offices. This, obviously, causing much controversy in the first place.

So the first open procedure was finalised, and Ms. Hroncová fully supported (although, so she did in the previous instances) Mr. Smolík's plans - concepts - experience - know-how and you name it. Why then, the sudden run away? Even the more, Mr Smolík has worked with the Opera all the time before, so one would expect that even on a person-to-person basis, both parties knew eachother, knew what to expect...

The following day, Ms. Hroncová stepped down. In a press conference, she proclaimed what good intentions she had with the SNT (to raise it to a European level), which in some extent could have been true. Yet, there is a slight difference about one's envisioned goals and how to implement it.

True, in some fairness I need to mention that some voices aired that many within the Opera are still having a background from the totalitarian regime. That especially such conservative camps were opposing to her innovative style. In my view, Ms Hroncová's style was far from innovative, and equally imperious as the old regime was - and as mentioned, even trespassing even regulations. Even, when the truth is somewhere in the middle, the (general)manager has a managerial role and managerial responsibilities. Failing communication, transparency, and some counterproductive decisions were not exactly a good example of skilled management. So far a manager's opinion.

Mr. Smolík - after Ms. Hroncová's resignation - agreed to return temporarily to the Opera. Time will now tell, whether he can pull the Opera out of the bog. It is a trend to be seen even in the Slovak Radio, Slovak Television. Just one big drama. Let's see what's next.

MS

Sale season (part II)

The Znojmo Music Festival (see previous article) will have a small encore: Haydn's La terra della luna" will be performed once again in Prague coming October. In fact, just after the closing concert, musicians were pushed a contract for this event in their hands to sign. Fortunately, due to the after concert rush, o few open issues had to be addressed, so further communication followed.

The point for instance was, that a majority of musicians comes from abroad: the contract stipulated only to play a rehearsal and a concert, for a price of 100 Euros. In case you would live around the corner, travelling 30 minutes by subway or tram, it might be acceptable for a fanatic music lover. But in reality, we deal with a following situation: You have to travel from Bratislava to Prague, which is a long trip and you should take the train if you want to avoid the frequent collision related traffic jams. There is indeed a good intercity train connection, which goes only a few times a day. I order to make it to the rehearsal on time, yoru train will leave at 5:35am from the main station. Your day will thus start at around 4:00am!

So the early riser will arrive at the rehearsal and physically play the whole lot including needing the concentration. After the session, there are empty hours before the actual performance. What can you do? Shopping? You have no facility provided to take a siesta, to rest, to practice, ... you are in fact kicked into the streets. After the performance (again full commitment, physical effort and concentration, you can head home, which means you arrive - if you are lucky - at around 3am.

For almost a 24-hours shift, plus artistic output you will get 100 Euros. In case you would take a hotel on your own (which would be ideal, so you will be well rested), out of these 100 Euro's you will left perhaps 20 Euros. When addressing this issue, the organisation simply replies with the statement that there's so more money. Basta.

The fact, that you have a limited budget is quite possible, but then: where do you have the impertincence, to insist professional musicians to work under such conditions?! I would like to ask the organiser Mr Roman Válek one question: Have you ever tried to go to a supermarket, take a product to the counter and tell the cashier lady that you can only pay 10% of the price? Can you imagine what would happen? You will be kicked out. Musicians have also their value.

MS