When even the minister comes

Attended an opera: While cities like Vienna and Salzburg, have regular - if not non-stop - programmes with their native composers' oeuvre, Slovakia's capital Bratislava's frequency to perform operas of its famous son Johann Nepomuk Hummel - or his compositions in general - is almost zero. You would as why? I simply don't know. Perhaps, it's too much of a burden. But, last Sunday, Hummel's opera Mathilde de Guise was performed, and remarkably in an HIP version. Historically Informed Performance. Not the standard modern instruments, but real gut-strings, natural horns and trumpets, etc. A tantalising flavour for real connoisseurs.

It was a great surprise, that unlike during the Slovak (and world!) première of the opera Svätopluk by Eugen Suchoň, which has been hailed as the nation's national opera by the government leaders earlier, but where not one single dignitary bothered to be present, at this performance, lo and behold the Minister of Culture himself was present. Would he suddenly demonstrate interest in early music?

The performance itself was merely a concertante\show. Usually, players and singers are the one who suffer and sweat. The builders of the opera made sure that this suffering was to be more balanced; not only the acoustics of the auditorium (especially erected for operas!) is a dull as a gymnasium, they made sure, that the temperature in the hall would be at around 28 degrees centigrade, which - at least if you didn't show up in bermuda shorts and t-shirts, your going-out wardrobe became more than just uncomfortable. 

The whole project - as it was obvious - was hardly worthy than it would befit. A clever marketing boss from Bratislava would make this into a happening with fireworks, with prestigious drumrolls and streamlined PR. As the conductor himself was no one else but Maestro Didier Talpain, who happens to be in fact the cultural attaché of the French Embassy, and is using the French tax-payers' money to sponsor his own conducting projects at the expense of many Slovak musicians, it was exactly this what was wrong with the whole happening. A poorly planned musical one-nigh-stand to inflate monsieur Talpain's ego. 

But yet, since a diplomat sent an invitation, the minister bothered to attend, even if all of the early music attempts are gravely ignored by his bureaucrats. Perhaps it looks as a good sign, yet it is a harsh but real sarcasm. Only the really impressive performance and singing technique by Íride Martínez was a balming compensation for the whole.

MS

When culture seems not to matter any longer

Sadly enough, my observations throughout the past few years on Slovak culture have been a bit grim, to put it mildly. Minister Maďarič, who is bestowed with the honour of keeping a watchful eye on Slovakia's cultural institutions and developments, has - contrary of what one would expect from him - shown little interest in this field. 

Perhaps life has become too fast for the Culture Ministry to notice all the developments. Not only was it visible, that the demolition tactics within the Slovak Radio Symphony Orchestra has devastated the foundation of the oldest professional orchestra in Slovakia, money wasting in the Slovak Philharmonic by its Manager Mr Lapšanský was equally alarming, which on top was marked by again a walk-out of another Chief Conductor, Maestro Feranec. Not the first one, to leave because of internal conflicts, hardly the last. Equally with the National Museum, who is run by incompetence and letting its foreign partners in deep despait, as their project of manuscript conservation is in jeopardy. 

The State Opera has had the most dubious set of Managers' switches, with a mysterious misty shroud of quiet spokespersons, no press releases or contradictory statements. If you have every few months a new director, especially since your club is running on public tax payers' money, you have to explain a lot. Not so in Slovakia. In the best scenario, the Ministry is closing an eye and hoping that public either will not notice, or quickly forget. 

But never mind the small change - who in Europe has ever heard of a Slovak National Museum, a Slovak Philharmonic (unless you are a NAXOS collector) or the like. Better, when Slovakia has proudly boasted of making its Eastern Slovak city of Košice into a European Capital of Culture! Prestige all over from Alaska to Tahiti. So one would expect, at least.  

Nevertheless, as it appeared in the newspapers today; the prestigious project, backed by patronage the Ministry of Culture and Brussels to turn this little gem into a capital in 2013, and to make in a dazzlig cultural town full with events, it appears that the Ministry has somewhat failed to fulfill its financial obligations. One would ask why. Not that the State has gone suddenly bankcrupt. The reasons are vague, to say the least. It's just ... political. 


This is definitively not the first time, where cultural projects are bleeding because of the incompetence, to move forward, or to at least stick to the set deadlines to deliver reports, decisions or what you have. A bureaucratic moloch, which shows hardly any interest in supporting culture at all.

Knowing, that the Manager, Ms Zora Jaurová, who as usual thoroughly prepared all documentation is far from happy. The whole project is at peril, perhaps to fatally end in a disaster. I know the feeling. Unfortunately, Mr Maďarič doesn't. Another case, where Slovakia has lost international prestige and added another embarrassment to its list. I am afraid, it's far from the last scandalous result of the present government. The frustrations of all those, who put their heart, soul and endless energy, ending up with empty hands cannot be described. In Slovakia, officially culture seems not to matter any more. One can only pray for a miracle, but almost too much harm has been done. 

MS 

Opera Soap

After the last stalemate in the candidacy race to become the next lucky (perhaps rather unlucky) General Manager of Slovakia's National Opera, there is - believe it or not - some movement. In fact, any movement would be more than welcome, as the incompetency of not being able to find a suitable manager for a prestigious organisation like the Opera is really becoming more than embarrassing.

The fact remains that for more than three years a centralist management has been causing many upheavals and controversies, where the Opera wore out every few months another manager. Controversially mainly because all new incumbents were hailed as the brighter than bright future, leading the Opera to the heights of European, eh no: even World level! The dream-team bubble burst only within a too short a period, with a record of merely 3 months to be attributed to the famous singer Gabriela Beňačková. Whoever was to blame, three in a row was simply too much of a coincidence, yet it had to take a coup-d'état of 3 directors had to take place, before the General Manager Ms Hroncová was forced to step down.

While these things might equally happen in any other country as well, what is a bit frustrating or disturbing is the fact, that misty and vague interviews (if any) are given, leaving an odd flavour of political intrigues and hidden agendas. But let's call it sheer mismanagement.

As I described in one of my earlier blogs on this, 7 new candidates submitted their applications to the selection committee. For some unconvincing reasin one candidate withdrew one day before the interviews. The outcome: nobody made it. Fulfilling al requirements, plus handing in a fully elaborated strategic business plan seemed not sufficient enough to convince the committee to pick the right successor. 

Then Minister of Culture offered the famous singer Peter Dvorský - currently also in charge of the Košice Opera - to become the next General Manager. Although in this was suspected for a long time, this obviously was far from a surprise. Knowing, that Mr Dvorský has aspirations for this post, there is however a slight twist to the matter; somehow, Mr Dvorský didn't meet the requirements as stipulated in the aforementioned selection procedure. Since this was unsuccessful, now the Minister can adjust the requirements according to his own discretion, paving the way for a selected... well; preselected candidate. 

Whether Mr Dvorský would be able to manage the SND Opera is debatable. What is a big shame is the murky process. A farce to justify the next political moving of the chess figures on the board. A slight sense of exhaustion takes hold of me when I try to fathom all this fiddling around and wasting money just to play the pathetic old game of who gets what. Bratislava will probably never reach any level at all with its Opera, neither the global, nor the European standard. It's a costly soap situated in a provincial village where nobody cares. Very costly with a dragging yet sad ending.

MS

Unbelievable!

My daughter would call it "a bad hair day"; when daddy is not in the mood, manages to create a bit of stupendous chaos, or says something which is utterly inappropriate and then wants to crawl in the deepest pit. Happens to all of us. As musicians we are, after all, still human. But what I read in the papers, would - in case I would be quoted these opinions - cause me to jump of the highest building in town. Perhaps I was born on a wrong planet, perhaps in a wrong century, but if my memeory serves me right, when we used to study music, or for that matter whatever we did, we tried to keep an eye on quality. Or else...

It was a few days ago in the SME newspaper - culture section, where the Slovak violinist Juraj Čižmarovič gave an interview. (For those able to read Slovak you can find the article here.) Just for your information, Mr Čižmarovič is currently concert master with the Cologne based WDR Fernsehenorchester and is lately taking up the conductor's baton as well. Quite an achievement. Chapeau.

While elaborating on the usual stuff like his youth, parents, studies and achievements, he places a remark, which made my hair raise as if electrocuted with 20 thousand Volts - the least. He was asked on the question of quality (in music). The conclusion was, that quality is determined by consensus and therefore, when (the majority) of the audience like a piece it is therefore quality.

Now that is an interesting statement, when taken out of context might be interpreted a bit, .. well wrongly. I re-read that paragraph a few times; the exact questions, the immediate answers (the journalist seemed surprised as well, and reiterated his question to clarify whether he understood Čižmarovič correctly), and cannot conclude that he meant it that way.

Some time ago, the very same Mr. Čižmarovič came to Bratislava, to perform Vivaldi's Four Seasons. It was a kind of a weak rendition of "Mr. So-and-so and Friends", where - in all honestly - the professionality of Mr Čižmarovič was at stake. The playing was not only outdated (over vibrated, acrobatic show off instead of refined music due to the piece), it was out of tune, full of mistakes, where even a tone-deaf listener would notice mistakes, for the Four Seasons are almost known to everyone.

But putting these two things - the embarrassing performance and the interview - together, gave me suddenly an insight what Mr. Čižmarovič is all about: playing lousy music - but as long as the audience loves it - is quality to you. Perhaps the artist shoudl have a sense to feel responsible to deliver quality to the audience, also to educate the audience to become more appreciative to quality... or am I too naive?

Well, in that case there's little hope for Slovakia's audience. You get medicority as a standard of quality. Even the professional musician seems no longer to be interested in true musical quality. Unbelievable. Perhaps I am having a bad hair-day.

MS

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