At the end of August, the Slovak State Opera came at a turning point; after years of dragging and pulling, four run-out managers, finally the General Manager resigned, after which the then (resigned) Opera Director received the position of overlooking - albeit temporarily - the management of the whole organisation. What was known to insiders, a shrouded mystery remained on the reasons why everything took place. Took place then, and most of all, why after so many turbulent, or let's say rather chaotic years, where no truly professional management was in place.
Mr Pavol Smolík, who currently runs the house has given lately an interview to publicly give some insights (so one hopes). What is immediately apparent that none of the answers give a conclusive impression of what is ahead. Not sure how well the author prepared his questions, what was edited, but it must be said in all fairness, that given the situation in which Mr Smolík finds himself, it is also difficult to work in, and therefore, difficult to conceptualise, implement and carry out to the end a necessary innovation project to help the Opera out of the ditch.
While having been closely observing the period, where the famous opera star Gabriela Beňačková was endowed with the task of forming the Opera house to equal the great international levels of other famous centres like La Scala, the Royal Opera House, the Metropolitan, and you name it. Afraid to say, that neither Ms Beňačková possessed the skills nor did Ms Hroncová, whose only talent was to keep on firing people and having a talented non-communication style.
What is sad for Mr Smolík is, that Bratislava is not bestowed with many essential elements, that could (or should) lead to this goal of putting the Opera into real and splendid action. There are a few, but nevertheless persistent, hurdles that prevent the Opera to excel: Firtsly a very old-fashioned style of working. The most basic functions operate as if a scene from a 1950s comedy show; innovation is regarded as a threat, and therefore not readily appreciated (concurrently, doomed to fail); new 'talent' is - due to the education system in general - difficult to find or below an acceptable standard; financing of culture and marketing skills is one of the most neglected areas in this country. If you want to change the Bratislava shed into a New York Metropolitan Opera style, it is only a naive perception. Here neither the specialists at the Culture Ministry hardly understand what their role is, nor the faculty of Arts Management of the Bratislava University have produced capable anybody who could or wants to solve this Gordian knot. The question should be asked also: why?
I sincerely wish Mr Smolík a lot of strength and wisdom. He has some goodwill among the stakeholders, which is a good start. How far he will be able to go, is a question mark.
MS
