OA the future 2

Well it didn't take long. Not content with no longer having Richard Hickox on whom to vent spleen, the outcry over Opera Australia's artistic future continues in today's Crikey which publishes a letter, thanks to "Phantom of the Opera" (leaks to Crikey of opera discontent are always pseudonymous) under the heading

Singer Fiona Janes addresses Opera Australia issues in a letter to Chairman Ziggy Zwitkowski."

What it lacks in veracity, it certainly makes up for in titillation. And it looks like Fantom Fiona will settle for information from the Sydney Morning Herald in preference to the source.


MEDIA/ARTS/SPORT

(Heading correct; this is media, arts and sport)

Opera Australia: new panel is "cosmetic"
Phantom of the opera writes:

Barry Kosky hoed into Opera Australia this week, calling it a "disaster" and "a juggernaut out of control", a view with which may (sic) opera lovers would concur.

Fiona Janes is the singer running the campaign against the current management. While she has a personal axe to grind and might reasonably be described as disaffected, she makes much sense. And she’s spot on about the construction of OA chairman Ziggy’s Zwitkowski’s committee to appoint a panel to choose a new musical director.

This is the letter:

Dear Ziggy,

(Dear Ziggy?)

A very interesting piece in today's SMH regarding the panel that will decide the future of Opera Australia. Might I point out just a couple of glaring problems!

Firstly there is no representative from what you call the side of the "dissidents" or the "democratic" opera side yet six (there are five) from yours or Adrians.

Secondly, Yvonne Kenny was one of the singers responsible for getting rid of Simone and personally brought Hickox in with a few others. While I have the greatest respect for her as an artist it is true that she has a lot at stake right now -- career wise and very much in with Adrian therefore will do anything to accommodate.

Neil Armfeld -- Adrian's favourite director isn't going to rock the boat.

David Malouf has proved quite openly that he will do anything to tow the line and support the bad decision making of Adrian and the board.

Trevor Green was a Hickox friend and outspoken against the "democrats".

Jonathon Summers -- fine artist but again a fence sitter and pal of Adrian's.

As Sarah Billinghurst was part of the last decision making I do not have great faith their (sic) either -- also an Adrian pal and pal of various favourite singers.

The only reasonable choice is Richard Mills.

So in all I'd say the Board has played it very safe for their side and probably got the majority of names from Adrian and his cronies.

I am very aware that senior members of Arts organisation have spoken with you and some have said you must start all over again. The growing distrust for Adrian now is extraordinary so any recommendations he has made will simply be self-serving whereas Kirsti and I expect nothing.

This is a frosted coated panel that will simply do whatever the Board and Adrian want. How widely they canvas and absorb disparate opinion is another thing altogether. I only hope they are able to listen to all sides and all those patrons, sponsors, subscribers, artists and senior members within the artistic community who have been rallying behind the scenes for an honest and fair change.

Frankly I do not believe this to be a true and fair representation of the operatic community. Is Adrian to still rule the roost when the company has failed so miserably artistically and financially (never let facts get in the way of a good rant) under his poor leadership? The question of Adrian not being part of the structure somehow in the background is pure fantasy. How is this improving OA and it's general public image when he is the problem? You will simply get more of the same. I guess Rowena is still having her way -- more the pity.

I was under the impression from you that there maybe some hope for better things -- sadly this panel seems purely cosmetic.

Best wishes,
Fiona

THERE YOU HAVE IT. THE ONLY REASONABLE CHOICE TO SOLVE THE PROBLEMS OF AN (incorrectly) ALLEGED ARTISTICALLY AND FINANCIALLY BANKRUPT OPERA COMPANY IS A COMPOSER.

Why does Crikey publish this tosh?

OPERA AUSTRALIA the future

Opera Australia has announced, and the Sydney Morning Herald reports, details of its search for artistic leadership for the company which presents 200 mainstage performances a year, employs around 1000, and operates a budget of the order of $70M.

Recently appointed Chairman of the Board, Dr (PhD nuclear physics) Ziggy Switkowski and CEO Adrian Collete have outlined the possibilities for artistic leadership based on 1 of 3 models:

First option is a full time Artistic Director, overseeing artistic, operatic and casting decisions, with or without a chief or principal conductor. Think Moffat Oxenbould.

Second possibility is a Music Director as Artistic Director, someone resident for up to six months of the year, responsible for artistic, operatic and casting decisions. Think Simone Young.

Thirdly, and they use the word 'triumvirate', is the possibility of power sharing, some combination of Music Director, Director of Productions, General Manager. Think Spoilt Broth. Well, that's what I first thought. Listening to Anthony Legge describe the vitality and success of an arrangement like this between Mark Elder, David Pountney and Peter Jonas at English National Opera is reassuring.

The getting down to specific names is the other matter and while reading the documents it appears to be a sequential process (define the model and then select the appointee). I can't see how these are not somehow interdependent. Model influences names; names influence model.

All this will be overseen by a 5 member Selection Committee, made up of 4 Board members:

Dr Switkowski,
David Malouf AO,
Anson Austin OAM,
the really useful Tim McFarlane, and
Adrian Collette.

This committee will proceed in 2 stages to pull it all together. The first is a wide consultation process, internal and external, embracing down to and including 'qualified professionals'. Members of the selection panel will consult with:

1. A select panel of esteemed professionals, including:

Neil Armfield AO (opera and theatre director),
Richard Mills AM (composer, conductor, and music director)
Jonathan Summers and Yvonne Kenny AM (opera singers),
Sarah Billinghurst (Assistant Manager, Artistic, at The Metropolitan Opera),
Trevor Green (Managing Director of the Melbourne Symphony Orchestra).

You may remember (New Zealand born) Sarah Billinghurst being interviewed in one of the Met Opera HD Broadcasts interval chatty chats, talking about casting.

2. Other major opera companies looking at leadership structures in similar sized overseas companies.

3. Significant performance partners: e.g Orchestra Victoria, The Australian Ballet, The Sydney Opera House and The Arts Centre, Melbourne.

4. In addition, the Selection Committee will take account of any submissions and suggestions already made in the context of earlier and ongoing Board consultations with stakeholder groups. It will also welcome any additional submissions made in the consultation period from suitably qualified professionals.

5. The Selection Committee will consult internally with:

Senior Artistic Management of OA:

Assistant Music Director, Tony Legge (recenlty appointed, previously Head of Music at English National Opera, and Head of Opera at RAM),
Artistic Adminstrator, Ian McCahon,
Chorus Master, Michael Black,
General Manager of the AOBO, Ed Hossack,
Concert Master of the AOBO, Aubrey Murphy,
Technical Director, Chris Yates.

6. and with representatives of the major artistic departments of the company:

the Australian Opera and Ballet Orchestra,
the Opera Australia Chorus,
Principal singers – permanent ensemble and free lance,
Opera Australia’s music staff,
Opera Australia’s resident directors, technical personnel including workshop, wardrobe and stage management.

Anyone left out?

Following these consultations, an announcement will be made on the artistic structure that will be put in place. That is, after an expected 4 - 6 weeks consultation period, the plan is to develop a job description and advertise and follow normal due process over another 3 months. They are being refreshingly transparent and are blessed with formidable forces and talent, which, well harnessed, will hopefully find and deliver us structural stability, some world class edgy music theatre, and all the bums-on-seats the cash register needs.