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In Reply to: RE: A new low, even for Eurotrash productions posted by Chris from Lafayette on July 04, 2020 at 18:51:43
" The question for me is how such deviants as the director in this production have managed to attain positions in so many major opera houses "
The answer may lie in the manner in which national arts bodies (who provide major funding for many European performing arts companies and venues) decide how to distribute their riches.
Here in the UK (and I suspect elsewhere in Europe) one criterion is that the recipient must produce new and advanced work. So an opera staged in line with a non-contemporary composer's vision insofar as non-musical aspects are concerned is unlikely to add anything positive to the company's position in the next annual funding round. A good example here in the UK was the end of the D'Oyly Carte company, the original production company for G&S operettas. It had done so continuously using the original staging until 1982 when it was forced to close for the first time after the English Arts Council refused a grant (if I remember correctly) due to D'Oyly Carte's lack of artistic innovation. The performances were not HIP just HP.
"We need less, but better" - Dieter Rams
Follow Ups:
Such "arts councils" and (in the US) foundations operate under the assumption that the constant production of anything different from what we already have (i.e., newness for the sake of newness) must be an indicator that our arts are vibrant and thriving, when, in reality, those organizations operate in an atmosphere of ignorant self-delusion.
" those organizations operate in an atmosphere of ignorant self-delusion."
And end up destroying the art itself.
"We need less, but better" - Dieter Rams
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