Wednesday, March 29, 2017
The Colón Theatre has always been a tough nut to crack throughout its long history. Even when it was well run (Valenti Ferro, Renán) each day was a fight against obstacles either true or perverse. To be General and Artistic Director is a full-time job that takes its toll on health and demands deep knowledge of many ample and difficult fields, firm ethical decisions, ability to control and delegate as well as to plan ahead no less than two years, preferably three. As a cultured member of the audience consider what it takes to put on a fine interpretation of, e.g., a Wagnerian opera such as "Lohengrin" in a new production. First the dates for five performances, four of them by subscription: even a ten-title season is an extremely complex puzzle (although Valenti Ferro managed to present eighteen!). Crucial aspects: how many rehearsals the choir needs to memorize the music and the German text (calculated by the Choir Director); how many for the orchestra to learn the music and play it with exactitude and style (the conductor´s evaluation); nowadays productions have stage, costume and lighting designers unified by the producer´s vision: how many weeks the artisans and artists of the Colón need to realize the ideas of the production team in time for the scheduled dates? Plus the costs according to budget, the contracts, the proper cast or casts… Multiply all this by the total number of operas, plus similar requirements for the ballet season; add the subscription concerts of the Buenos Aires Philharmonic and its availability for the ballet nights. Add the concerts planned by the Colón in separate series, such as the Barenboim/Argerich festival; and the twenty dates of the Mozarteum Argentino plus a couple of Nuova Harmonia, and you have the legitimate work of a great integrated theatre. Unfortunately more and more intrusions alien to classical music have been given dates, denaturing the purpose of this theatre sometimes to ridiculous extremes (weddings, rock, pop, cinema stars, tango, folklore): there are other venues for all this and only a lack of clear thinking and a desire for juicy returns explain (not justify) these aberrations. During the Macri years as Chief of Government something essential was sanctioned by the Legislature: a very flawed Autarchy Law invented an absurd five-Director structure: General, Executive and three other members supposed to have "recognised cultural trajectory", one of them representing the Colón workers either from the artistic or the technical sectors. No mention of the Artistic Director (!?). Well, lawyers and accountants were named as members in flagrant violation, and the election of the representative of the Colón was delayed for years until Director General García Caffi could be sure that he had the votes for someone who wouldn´t be an independent voice. During the GC tenure happened two things: a) after six very confused and controversial years the Colón reopened in 2010: it had gone through a massive restoration; unfortunately it was incomplete (and still is: the Institute of Art went to a separate building, and many workshops work at La Nube, an insufficient Belgrano building); b) obeying Macri´s gravest mistake, four hundred people were summarily either transferred or left in a limbo without any rational previous evaluation: the 1300 people were reduced to 900 (they couldn´t be fired under the stability law); now we are back at the previous number if you sum the tercerized employees. Come January 2015 and out of the blue GC resigned, invoking private reasons. In this surreal Colón he had been both General and Artistic Direct. Implicitly recognising that an Artistic Director is essential, Rodríguez Larreta chose Darío Lopérfido as General and Artistic Director;he was a very negative Secretary of Culture during the De la Rúa stints as our city´s Chief of Government and then as President. To add to Surrealistic behaviour, later Lopérfido was named Culture Minister retaining the Colón but only as Artistic Director. María Victoria Alcaraz, for some years a low profile Director of the Centro Cultural San Martín, was named the Colón´s General Director. So she was Lopérfido´s superior at the Colón but reported to him as Minister! More Surrealism of bad quality. But Lopérfido resigned as Culture Minister for spurious reasons and came back to the Colón. And now he was offered by the Nation "an irresistible job" at Berlin (no details!) and resigned. Three candidates were evaluated and Enrique Arturo Diemecke was chosen as replacement, though changing the description of the job: not Artistic Director but Director of Programming and Artistic Production. Diemecke, of course, has been the Principal Conductor of the Buenos Aires Philharmonic for twelve years, and he will keep this position during 2017; in 2018 he will leave the post, previously choosing two conductors who will share the Principal Conducting. Lopérfido was a caretaker Artistic Director in 2015, for he respected García Caffi´s programming (only changing conductor and producer for "Parsifal"). 2016 was programmed fully by Lopérfido, and already last November he announced 2017 in every detail, published in a booklet. The press release states that the season will take place as programmed, but Diemecke says that there might be changes in the second semester! And although Lopérfido had advanced a lot with programming 2018, if there aren´t contracts everything can change. He says that he will continue to lead Ópera Latinoamérica and hold "an international representation of the Colón", Alcaraz doubts that this will be so. Our colleague La Nación had interviews with Diemecke, Paloma Herrera (who takes over as Directress of the Ballet due to Maximiliano Guerra´s resignation) and Alcaraz. The latter makes two interesting statements: with reference to Lopérfido: "it wasn´t an easy relationship because we didn´t share ethical criteria concerning management and other subjects". And about the Colón use for shows outside its vocation: "Diemecke and I will decide to whom we will rent the theatre. I have my differences about how it was used recently". It´s worth mentioning what is known about the Lopérfido 2018 opera season. The term used in the information, "comprometido", is rather "firm offer accepted by the artist", it isn´t the same as "under contract". "Tristan and Isolde" conducted by Barenboim; "Simone Boccanegra" with Domingo; Berg´s Lulu" (conductor Brönnimann); "Aida"; "The Tales of Hoffmann" (both conducted by Ranzani and the latter produced by Zanetti); Martinu´s "Julietta", premiere (conductor Kuerti) and Janácek´s "Jenufa". As the operas will be ten, three are missing from this list (one could be an Argentine opera by Matalón, as rumor has it). Says Diemecke: he likes the proposals but doubts if the budget for it will be available. In a recent article I mentioned that Guerra´s job was in danger due to great discontent with his tenure. Paloma Herrera, now 41, seems a good choice. She, like Bocca, is a product of both the Colón Art Institute and the American Ballet Theatre. As she expresses in the interviews, she will apply the same principles of discipline and perseverance of her own career to better the level of our Ballet. She wants more performances either at the Colón or elsewhere. She accepts the programming left by Guerra but wants to add to it. Both she and Diemecke believe in being present as much as they can, but this year they have previous engagements to honour, they will need efficient Subdirectors. And both as well as Alcaraz will have to tackle organisational reforms completely "forgotten" by García Caffi and Lopérfido: pensions, regulations, rehearsal times, and a big etc.For Buenos Aires Herald
She was due to play Torino, Genoa and Florence with Lilya Zilberstein next week. Here ‘s the reason: Salta l’atteso tour italiano di Martha Argerich e Lilya Zilberstein: «L’Unione Musicale è spiacente di annunciare di essere stata informata ieri sera dalla signora Martha Argerich, a mezzo dell’agente che la rappresenta in Italia, che per un improvviso motivo di salute l’artista ha annullato l’intera tournée italiana, che prevedeva nel corrente mese di febbraio il concerto già programmato a Torino (17/2) oltre a quelli di Genova (Gog, 20/2) e Firenze (Amici della Musica 19/2), nonché altri impegni internazionali successivi».
Last year the government of the town where the museum (in the composer's former house) is located forbade France-TV to film there; last month a local official called the police on Charles Dutoit and Martha Argerich while they were visiting; last week the custodian, on the job for 30 years, was fired; there are concerns that objects and archives are missing. Sanjoy Roy looks into the situation and explains why losing the museum permanently would be a tragedy.
Her long-standing festival in Lugano may have run out of sponsor s but Martha Argerich still has friends in Japan. She has been named general director of the Oita Peace Symphony, retitled ‘Argerich’s Meeting Point in Beppu’, announced today. The festival will take place from May 6 to 26. Se has been to Beppu before but this is the first time she has a formal title, apparently.
Royal Festival Hall, London Yuri Temirkanov led a measured performance of Shostakovich’s Fifth, while pianist Martha Argerich dazzled with Prokofiev The St Petersburg Philharmonic’s London concert under Yuri Temirkanov closed with Shostakovich’s Fifth Symphony, of which the orchestra gave the world premiere 80 years ago. Their close association with the composer’s music gives their performances an inevitable reputation for authority, but this was a low-key interpretation, faultlessly played – as one might expect from this most resplendent of orchestras – although occasionally lacking tension and abrasion.Temirkanov shaded the first movement towards elegy. The march that intrudes on its course was not as menacing as it can be, and the scherzo was similarly short on bite. The emotional level intensified in the largo, and the finale was edge-of-your-seat stuff, with a powerful final lurch into forced triumphalism. Continue reading...