Da Capo for the Slovak National Theatre... al Fine?

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture.

The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination.

Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline.

The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing.

Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started.

The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. When thinking of the wasted millions while good quality musicians hardly stand a chance to find support for their performances, it is making me far from optimistic.

One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect.

MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that a re-newed attempt is detected - at least something is happening - it made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that a re-newed attempt is detected - at least something is happening - it made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS

Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation ...

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Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was agonisingly quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Košice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation period started. The fact, that suddenly a renewed attempt is detected - at least something is happening again - made me wonder, whether I was not accidentally reading about months-old news. As among the candidates was again Pavol Smolík, who - to remind you - withdrew his candidacy at the last minute. Indeed, it was the latest news, yet it looked as if the carousel was turning again round and round, never to advance into any direction. One would honestly slowly start thinking, that this monstrum - the building of it took over 18 years, yet it looks inside and outside like a concept-less bunker, where even the auditorium, specifically erected for opera, has an acoustic value of a third rate sports hall - has not only a poor design but even an eerie spell. No manager appears to be able to cast that spell away. A sad prospect. MS Certain things in life have a cyclic recurrence. As we enjoy the slow yet steady return of spring as a revival of nature, it seems that even the Slovak National Theatre has awaken from hibernation. Despite years of a mismanagement-circus, costing valuable millions while at the same time the directors where coming and going like migrating birds, resulting in further soap opera-like (how striking) floating without any direction. A tragic fate for a institution, which wants to be a figure head of Slovak culture. The Minister of Culture Marek Maďarič has showed that other matters were clearly of higher priority, as was the dubious Language Act, which was given far too much energy for a law that remains questionable [sic.]. Given the minister's background, I would have expected a bit more concern in the matter. But be it so, the gods of Slovak culture seem not to be too favourable. However, a monstrous institution without any managerial vision is a deadly combination. Since the little coup d'état last summer, where after three directors within a few months' time, the last Opera director together with the chef-conductor as well as Drama boss demonstratively resigned and finally the General Director Ms Hroncová arrived at the only possible conclusion to finally hand in her resignation, it was somewhat quiet at the frontline. The long awaited outcome of the hiring process in December last year, brought nothing more than surprise. None of the candidates have made it, while the current ad interim director at the last minute withdrew from the selection procedure. The reason given was quite unconvincing. Even the more as yesterday's news announced, that seven candidates applied for the job of General Manager. Immediately after the December's failure, it had transpired that Mr Maďarič had approached singer - and current boss of the Kosice Opera - Peter Dvorský for the job. Was it pre-meditated? As these signals hurled some unpleasant discussions behind the scenes, perhaps the minister wisely changed his mind after all; hibernation ...

Slovak Philharmonic's blues

A trend in Slovakia's music world is that incompetent managers do everything they can to destroy it. A manager is not to have any vision, responsibility for his product is completely unheard of, and it seems the only objective is to make sure your own salary is as optimal as it can be.

Slovakia's Philharmony, one would gather it to be a prestigious cultural institution to carefully nourish and use as a promotion abroad. Yet, it is a petty club of drifting musicians, victims of anything bad that Mr Murphy has put into his law. Season 2009/2010 has started quite a while ago, and only in February 2010, its newly appointed chief conductor Emmanuel Villaume finally came to town to present himself and 'his' orchestra. And till the end of the season only one more concert to follow. How about that?

True is, that it is becoming a general trend, where chief conductors spend much time abroad. But the quality of an - let's say - Amsterdam's Concertgebouw Orchestra  or a Berlin Phil is a bit more steady to absorb such shifts. While the Slovak Philharmonic has fell prey to management struggles, where one conductor after another walked out, this tactic (for hardly can it be considered a strategic choice) proves to be devastating. But in all honesty - merely 2 concerts for this season and having a status of chief conductor? What's the point? Having two heavy weight cultural centres around the corner - Vienna as well as Budapest, the burden is simply too massive to be ignored.

This so-called opening concert announced a Brahms symphony. Nr. 4. Whichever Brahms you take, any self-respecting philharmonic band needs to have this in its repertoire, and almost be able to play it by heart, no matter who is swaying the baton. Perhaps the bride and groom were so nervous during their first appearance (although it was not the very first co-operation between the orchestra and the conductor). But when even a minimal professionalism of playing together, following the maestro, among others, is not there, then the state of the orchestra is at a dramatic low. Unless it would have been a last-minute stand-in to replace a suddenly fallen ill conductor, it could be excused. This is an embarrassment. A better job could be outdone by an average amateur orchestra from Germany.

My conclusion is, despite a Mahler symphony ahead (and my acquaintances know my appetite for Mahler), the Slovak Philharmonic is no longer on my visit-list. Unfortunately.

MS

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