A Spell on the Opera

After the resignation of the controversial General Manager of the Slovak National Opera, the Ministry of Culture has - for the first time - publicly announced a hiring process for the said post. While one would be used to broad publications for similar posts in Amsterdam, London, Los Angeles, Milan or even unconventional places like Singapore or Sydney, Slovakia prefers a hush-hush announcement. Albeit, that those really following the whereabouts of the Opera, were able to get the needed information. Anyhow, the cultural world - or let's say, the Slovak cultural world - was closely following the developments. Last Friday, the long awaited results of the candidate-selection would be finalised, and the eagerly awaited new General Manager would be appointed. 

The formal requirements were a bit of a farce; previous directors either fulfulling the expected preconditions or not, have never been able to fulfill their tasks, and either left on their own chosing, or were bluntly sacked, under mysterious circumstances (where even the official spokesperson would not be able to give comments to the occasions). Nevertheless, a total of seven candidates have come forth to run for this race of the titans. 

Therefore, last Friday was a big day. Another step forward. How more susprising it was, that the current interim manager suddenly withdrew from the race. His reason seems a bit unconvincing in my eyes, but let it be. The shock - or disappointment - was a bit bigger to find, that the commision has not chosen anyone. Leaving the door open for any other possible solution. A solution, which might be politically driven. Left aside, who the candidates were, one cannot wonder, who would still really be interested to hold this post. Either a complete masochist or somebody completely detached from culture.

For a few years I have monitored many public institutions here in Slovakia in their management struggles (or rather their lack of it). One can hardly stop feeling amazed by the events and whichever angle one takes into consideration, such wild-west solutions would be far from acceptable in most Western opera houses. There is much awe and question-marks left. It seems that Bratislava and its Opera have a magic spell. Not to excel, but to be doomed to mediocre level of amateur games of those, who wallow in political intrigues. It would be an interesting scenario on stage, but not behind it. 

MS

Hidden Baroque Music in Poprad

Last week, an international early music project called Central European Music Academy took place in the Slovak city of Poprad, just under the majestic High Tatras mountains. Slovakia's most prominent early music ensemble Musica Aeterna from Bratislava was present. Even some of my acquaintances from abroad would attend. Good news one would say. 

Except from the fact that such a 'prestigious' event had no medial coverage in Slovakia whatsoever. Despite my close connection to early music in general, I was personally shocked to find out of this festival through foreign sources - I reckon, that it was just a slight error for me not being informed of this beforehand. Newspapers wrote a brief article during the festival - where one would expect to publicise in advance in order to attract attention and to point out dynamic activities in the field of early music. But not so. One news item on public television, focussed on the presence of the dance department of Prague's National Theatre, who were performing original baroque choreography to the music of Jean Baptiste Lully. Not one mention of their own Slovak participants. Why?!

What gnaws on my mind is; are Slovaks so embarrassed about themselves, that they purposely eliminate all traces of themselves from such worthwhile activities, such that only foreign prominence gets the sole attention? I have witnessed many early music projects go to waste, because insufficient public interest and most of all lacking interest at the Ministry of Culture level, where they should be eager to support such trends.

The artistic music director of Musica Aeterna, Peter Zajíček was quoted in the said SME newspaper article that baroque music in the West doesn't sound other than in the Historically Informed Performance practice - and implying, that Slovakia seems not to realise this given, continuing to play a 1960s-ish Karajanesque rendition of baroque music as is the case with e.g. Warchal Chamber Orchestra. I totally agree with that statement - but I have to add something to complete the picture; this state is partly also caused by the lack of a structured and professional marketing approach. It is highly underestimated.


Continuing like this, may result in Musica Aeterna to bleed to death within a few years. The foundation of this music quality of Musica Aeterna, which had a profoundly genuine and pure approach to early music thanks to the late Ján Albrecht, will find itself in a dead-end alley. A quality gone to waste. Such that hidden attic performances will be the last sighs of breath. And despite that Poprad's 'music academy' was an interesting highlight, to me it looks like a missed train.

MS

Slovak culture and Web 2.0

While Slovakia has experienced during the decades of totalitarianism political limitations to free information until 1989, for 20 years now it has entered formally the free "western" world, where information is accessible, especially since the introduction of internet and the like. Our world has gradually changed - we became more dynamic, more global, and more technological. IT-technological that is: Our borders have somewhat vanished, and we can nowadays access instantaneously electronic data whether from Anchorage or Auckland.

This would, in theory, give us a grand virtual mobility, where the geographic distances are irrelevant. On the one hand, as we became more computer literate (let's admit it - how many people were 25 years ago knowledgeable about RAM, kbps, IP, UTLs and you name it) we have a rich scala of comparison at our fingertips; in the event I recall a certain title by e.g. Jane Austen, I can google the book and eventually legally download it, or read some background info on it. All within a few minutes. In the old days, I could visit the nearest library, and if the book was taken, I had to wait another couple of weeks perhaps.

Technology has definitively also influenced our connection to arts. Not just Picasso's works can be viewed, music of all sorts is available from our sofas. While in the old days, we savoured unique life concerts, records brought - be it with some quality limitation - music into our homes. Nowadays, we can hear performances from Sydney, Los Angeles, Seoul, or Covent Garden, and compare them with the Concertgebouw, Berliner Philharmoniker, La Scala or the Gewandthaus. But now in full hi-fi quality, digitally remastered. A former manager of a Dutch symphony orchestra once described it as our "Ear-Phone Experience": When being at a live-concert, it is no longer the experience of hearing beautiful music to pleasantly spend the evening, but it has become a "comparing notes" with the other dozens of prominent performers.

Departing from this, technology moved us a bit forward also in a different field; now that we have become more informed, we have also must have added to our critical preferences - or at least we should. While all over the world the era of the so-called Web 2.0 is not a mere phenomenon of just globalising business vis a vis your home, strengthening networking; even arts has now strongly boarded this vehicle for their marketing purposes. While major orchestras even appear on Facebook or Twitter (to name a few), actively informing about there upcoming concerts, even providing possibilities of viewing online or downloading their concert, there is an odd silence in Slovakia. 

Although urging colleagues and other institutions to utilise these available tools, the vast majority has no connection to them. The effect of internet (or Web 2.0) is highly underestimated. There is hardly any connection felt for the possible synergy. The role of a marketing manager is grossly downgraded, as the willingness to invest in this field is close to zero. Slovakia has - sad to say - hardly understood how to deal with quality and how to sell it. Political structures hold a stiffling grip on culture, which is obvious on how institutions are run and when the chief editor of the only classical music magazine, is very selective in his criticism towards key figures in Slovak's culture, giving it a slight flavour of party propaganda. Well, perhaps his job is at stake.

While I sadly see how fast forward moving culture has connected all over the world, where colleagues in my direct neighbourhood like Christian Henner-Fehr, David Röthler, Karin Janner and many more, are successfully channeling art through the Web 2.0, I see Slovakia like a time-capsule, still experimenting as if still in the 1950s. Where music trends are generally speaking outdated, and where innovation is rather smothered than encouraged. Web 2.0 is a great tool, but for Slovakia it is still an unknown field, where the only problem is the Slovak mentality, unfortunately. The prospects are not very optimistic I am afraid.

MS

Operatic hurdles

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

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