As those who follow these things know, COC’s decade-plus General Director (and recently appointed AD of the Opera Santa Fe) Alexander Neef is one of the four candidates shortlisted for the position of the director of the Paris Opera – where he used to be the casting director during the reign of Gerard Mortier, before his appointment at the COC. Paris is arguably the biggest, busiest, and most prestigious opera house in the world today – though not the nimblest or most adventurous or most independent from political power. A number of French and Belgian media have been reporting on this hiring process steadily at least since March, and since Dominique Meyer is in the running, I expect the Austrian media have been at it too. So here are the last four standing: Peter de Caluwe (current La Monnaie director), Meyer (Wien Staatsoper), Olivier Mantei of the Opera-Comique in Paris, and Neef.
In the March 7 paper, Ariane Bavelier of Le Figaro reported that the French culture minister Franck Riester had appointed an “audition committee” which will make recommendations to him after interviewing the long-listed candidates. There were many more at that point, including the sole woman, Christina Scheppelmann, who has since been hired as the Seattle Opera’s General Director. According to the Figaro, the candidates will have presented their respective “projects” for the opera house on 9th and 10th March — I expect this was a sort of a general vision for the house and its future, with strategies how to get there — in 20 min presentations, followed by an hour of questions from the committee. The committee itself consists of people who, while experts in their respective fields, has neither run an opera house, as the Figaro points out with some pique. President of the board of directors of Paris Opera chairs the committee: Jean-Pierre Clamadieu, CEO of the Engie, the French multinational electric utility company and Macron’s proche. Laurent Bayle, CEO of Paris Philharmonie is on the cttee (which the paper describes as homme fort du comité – perhaps the one whose voice will be decisive), as are the conductor James Conlon, choreographer Sasha Waltz, and Sylviane Tarsot-Gillery, who has the following untranslatable title: directrice générale de la création artistique du ministère de la Culture (a high civil servant or political appointee? I’m rusty on the ins and outs of French administration).
There’s been a lot of punditizing, some of it quite good, in the Francophone media on what the new director should fix and what enhance, and the place of opera in contemporary French society. Macron’s former chief speech-writer Sylvain Fort, who recently returned to his old profession of opera critic and arts journalist, wrote an editorial on the ONP hiring and argued that the plan is more important than the name, and that whoever ends up being appointed, he’ll have to work with the staff to answer the question looming before opera as an art form today: how does opera fit in our modern times, what is its purpose and function today
N’importera que son projet, qui ne saurait être qu’un projet conçu pour renouer les fils défaits et inventer des fils nouveaux qui rendront à l’institution, et donc à l’art même qu’il porte, une place dans notre modernité.
It’s been almost two months since that committee audition, and no decision has been announced. Is the Paris Opera going to have the 2021 season or not, the way things are going, asked the Figaro a couple of days ago. The paper says that Macron wants to meet the shortlisted personally, and that his schedule hasn’t allowed it so far. Belgian paper L’Echo, rooting for the home candidate, is also wondering what’s in the offing and affirming that de Caluwe is still in the running.
Now, who to bet on, that is the question…