Para quem se interessa pela questão do financiamento das artes em particular e a gestão de Organizações Culturais em geral, seguir o que se está a passar na New York City Opera chama a nossa atenção para matérias muito práticas. Na minha leitura, por exemplo: a vulnerabilidade quando se está dependente dos apoios privados para a garantia de um serviço público; a escala com que se trabalha no nosso país em confronto com outras paragens; o confronto USA/EUROPA. Sobre a crise da NYCopera este artigo de opinião de Anthony Tommasini publicado no NYT de hoje, de onde retiro:
«(...)
But Mr. Steel’s road show of a season represents a radical rethinking of the company’s mission. The most anguished members of the City Opera family — the orchestra players and choristers, the distinguished artists who signed the letter protesting the company’s decision to leave Lincoln Center and who have counted on the company for years — complain that Mr. Steel’s plans are such a departure from what the company has been for the past 68 years that he can no longer call the company New York City Opera. And they have a point. (...)»
Looking at grim financial reality, Mr. Steel and his board believe they have come up with the only way to keep City Opera going. Yes, this will involve essentially transforming the orchestra and chorus members from full time into freelance staffers, which is terrible. But is there an alternative?
One stunning budgetary fact struck me during the news conference. Mr. Steel said that the cost to City Opera of running the David H. Koch Theater was roughly $4.5 million. If City Opera were to move to offices across the street, Mr. Steel said, and simply rent the Koch Theater for the company’s production weeks, that would save $2 million a year. Mr. Steel could be right about one thing: Given the need to downsize, City Opera simply cannot afford to stay at Lincoln Center. And if Lincoln Center is distressed at the company’s imminent departure, how about altering the terms of occupancy.
(...)»
America is not Europe. A big reason that Mr. Mortier proved to be the wrong person to lead City Opera was that he had only worked in state-subsidized artistic institutions. In 2008 Mr. Mortier’s operating budget at the Paris National Opera was $256 million, of which some $160 million came from government sources. In comparison, the entire budget of the National Endowment for the Arts that year was $145 million. Mr. Steel’s itinerant City Opera will have a budget of $13 million next season, down from $31 million. (...)»
Sem comentários:
Enviar um comentário