Some musings on French opera

         Late in 2004 I wrote for the Herald reviews of two operas I had seen in Paris: "Debussy´s "Pelléas et Mélisande" at La Bastille and Rossini´s "L´Italiana in Algeri" at the Palais Garnier. In late September last year I was back in Paris and I saw Tchaikovsky´s "Eugen Onegin" at La Bastille.  Later in this article I will give my views on it, but my aim is ampler: to give a general conspectus of opera in France. In fact my trip was basically cultural tourism in the South of France: cathedrals, monasteries, museums and scenery. But I had hoped to catch some opera performances in provincial houses; alas, I had no luck: either the seasons hadn´t started yet, or their schedule didn´t coincide with mine. However, I did get to to see the opera houses from the outside.

         The Paris Opera is divided in two houses: the modern La Bastille built by the Uruguayan Carlos Ott is mainly dedicated to opera, whilst the old and splendid Garnier is the house of the Paris Ballet but it does offer opera occasionally.  Opera in Paris is also seen sometimes at the Châtelet (generally a musical comedy or operetta venue), or at the Théâtre des Champs-Élysées. The Opéra-Comique, where decades ago I saw lovely performances, has fallen in bad times and is scarcely used at all ; I feel it should.     

         As is logical enough, the other big French cities have good opera theatres. Those considered to be the best are the modern Lyon Opera by the famous architect Jean Nouvel  and the Toulouse Capitole, integrated to the massive municipal seat of Government. As a building, maybe the most impressive is the old Bordeaux Grand Théâtre (1780). There is a very new Berlioz Opera at Montpellier within the Corum Center, and both Marseilles and Nice have nice houses. And if I may stretch a point (it´s not politically French) the Monaco Princedom has a wonderful Garnier Opera House. In the North, l´Opéra du Rhin is based in Strasbourg  and Lille also has a good  reputation.

         Many other cities offer opera : Dijon, Tours, Rouen, etc. And there are Summer Festivals of well-earned repute in the South: the open-air Chorégies d´Orange in the Roman Theatre, or the Aix-en-Provence festival, during many years a sort of French Mozartian Salzburg. All these houses adhere to the Italian season concept: a limited number of operas are prepared for the season and in principle will be substituted by another group next year.  

         The Paris National Opera is of course the most important. In 2010-11 they are presenting nineteen operas, including the final two of Wagner´s "Ring", the revival of Hindemith´s important "Mathis the Painter", the premiere of Mantovani´s "Akhmatova", Smetana´s "The Bartered Bride", Janácek´s "Kátia Kabanová", Haendel´s "Giulio Cesare", Zandonai´s "Francesca da Rimini" and the "lyric scenes" that comprise Tchaikovsky´s "Eugen Onegin". Most operas are offered  as many as eight or nine times, so the final number for the season is really big, about 170  performances.

         La Bastille´s acoustics are clear but rather dry. The theatre is big and the architecture very impressive. The sightlines are good, the technical equipment quite remarkable, and the whole huge machine functions smoothly. The occupancy rate is very high, with most performances sold out, and you will do well to reserve several months ahead.

         Tchaikovsky´s opera, based on Pushkin, is  Romantic, sincere and intensely Russian. There are gorgeous melodies, rich orchestrations and a mosaic-like structure. If sympathetically sung and staged, it is very rewarding.  I liked the total effect better than in the Vienna occasion I reviewed in late 2009, but I do have some reservations about the staging.  

         Curiously enough, I heard the same Tatyana as in Vienna, Olga Guryakova, and I found her in steadier, firmer voice; she acts the part well. French baritone Ludovic Tézier has a warm  timbre and he limned his character with talent: this blasé Onegin who provokes tragedy (killing his friend Lenski in a duel) and sermonizes the loving Tatyana becomes in the last act a  man desperately in love. Canadian tenor Joseph Kaiser sang Lenski with fine professionalism, but his voice is rather short on beauty; the poet´s voice should be softer and more plangent. Veteran Russian bass Gleb Nikolsky gave us a noble Prince Gremin, the mature husband of Tatyana. Two admirable French artists gave their full due to their parts: mezzo Nadine Denize after a long and splendid career still offers vocal charm and much point to her Mme. Larina (Tatyana´s mother) and Jean-Paul Fouchécourt did a fine cameo in Monsieur Triquet´s rococo song. Alisa Kolosova was convincing as the coquettish Olga (Tatyana´s sister) and Nona Javakhidze was appropriately folkish as Filipieva (Tatyana´s wetnurse). Fine voices in small parts: Ugo Rabec (Zaretski) and Yves Cochois (The Lieutenant). Young conductor Vasili Petrenko was enthusiastic but also rather hectic; the orchestra sounds really well, and the Chorus under Patrick Marie Aubert was satisfactory.

         Willy Decker´s production finds dramatic truth at many points, but I quite disagree with such things as Tatyana´s presence at the duel, or the fusion of that tableau with the following one which occurs years later. The wonderful Polonaise and Waltz were very poor in the hands of choregrapher Athol Farmer. The unit set imagined by Wolfgang Gussmann has some beauty but can´t adapt to the very different tableaux; his costumes were much better.

UN DUDOSO CONVENIO DEL COLÓN NO OFRECE GARANTÍAS

    Mi último artículo sobre el Teatro Colón fue publicado el 7 de Diciembre 2010 y tenía un título ominoso: "Empezó la guerra del Colón". Ahora el Director General Pedro Pablo García Caffi presentó un convenio del Gobierno con el sindicato SUTECBA como una feliz ocasión que asegurará las actividades del Colón durante 2011. No lo creo, y los siguientes párrafos explicarán porqué.  Pero antes de dar esas argumentaciones, creo útil mencionar alguna información nueva con respecto al citado artículo.

    a) Mencioné sanciones contra siete personas; ahora se han agregado muchas más, y en un caso particular, el de José Piazza, quien había obtenido una sentencia judicial anulando la sanción, ¡no sólo no se tuvo en cuenta esta sentencia sino que le agregaron otros 30 días de suspensión!.

    b) García Caffi en su momento había aceptado la nominación de Máximo Parpagnoli para la varias veces pospuesta elección de Director por parte de los empleados (de acuerdo a la Ley de Autarquía debe haber cinco directores, cuatro nombrados por el Jefe de Gobierno y uno elegido por los trabajadores). Pero SUTECBA, sabiendo muy bien que su candidato iba a perder y que Parpagnoli (de la ATE) iba a ganar, "convenció" a García Caffi que posponga la elección otros seis meses...

    c) Por supuesto, la temporada no fue anunciada en Diciembre;  García Caffi ahora dijo que la anunciaría "en muy poquitos días". Si lo hace, cometerá una grave irresponsabilidad, ya que hay un hecho básico: el presupuesto no fue aprobado en Diciembre (me refiero al de la Ciudad, que incluye al Colón). Se supone que la Legislatura vuelva a analizar el asunto en Febrero y es de esperar que la Ciudad no caiga en la trampa en la que cayó el Parlamento nacional (como se sabe, el presupuesto de 2010 también regirá en 2011, y los fondos adicionales fueron obtenidos mediante un decreto de necesidad y urgencia de muy alta cifra). Si entonces el presupuesto del Colón fuese presentado tal como lo fue en Diciembre, elevaría el dinero en números redondos de unos 145 a unos 185 millones de pesos, ¡aunque sin aumento salarial! Si no fuese aprobado, García Caffi tendría 40 millones menos de los que pidió, y estaría en un problema, ya que supuestamente tiene contratos firmados hasta cubrir la cifra solicitada. Además supongo que deberá agregar el gasto del nuevo convenio, cuyo monto total no fue revelado.

    d) En efecto, lo que quedaba de la temporada en el momento de publicación del artículo anterior no tuvo lugar, salvo el CETC y una actuación de los estudiantes de ballet del ISA.

    Y ahora, una síntesis de la conferencia de prensa ofrecida por García Caffi el 20 de enero en la sede del Gobierno de la Ciudad. Para demostrar la "elegancia" de sus maneras, recibí la invitación el mismo día por mail a las 12,30 y la conferencia fue anunciada para las 15 y tuvo lugar a las 15,20. No es de extrañar la ausencia de mis colegas (aparte de sus posibles vacaciones).

    Sonriendo, García Caffi anunció un convenio salarial con los trabajadores que incluye una mejora pero ligada a una cláusula de productividad. No dio cifras ni detalles, aparte de decir que su objetivo era  asegurar el funcionamiento pleno del teatro. Dijo que se había firmado con los representantes gremiales y luego, en la sección preguntas y respuestas de la conferencia,admitió que todos eran de SUTECBA y que ATE no intervino. Pero mencionó que "la mayoría" del teatro lo aceptaba. Y esto es falso, porque esa mayoría está de vacaciones hasta el 15 de Febrero y no puede ser consultada, y la nueva Asamblea del personal está convocada para Febrero 16.

    Dio un dato interesante: los empleados son actualmente 925; de modo que, a través de maneras aberrantes, se ha aproximado a su meta de eliminar a 400 personas del padrón del Colón. ¿Pero cuántos de los ausentes han sido reemplazados por tercerizados? Creo que si las cifras se conocieran mostrarían que el Gobierno está pagando mucho más que antes; entonces ¿qué sentido tuvieron estas transferencias absurdas y dislocantes? Un caso de muestra: el último número de la Revista del Colón es un "álbum de fotos" de la temporada pasada firmadas Parpagnoli (!) y Colombaroli, miembros de una sección "disuelta" que el Colón debió retomar por sentencia judicial.

    El convenio fue homologado por las paritarias centrales de la Ciudad, también de SUTECBA. Sin embargo, hubo convenios y charlas del Gobierno con ATE durante 2010. Considerando que en la actualidad alrededor del 18% es de SUTECBA, un % similar de ATE y el resto independiente, y que la Asamblea recién tiene lugar en Febrero, éste es sólo un convenio con un sector minoritario y con poca posibilidad de ser aprobado en Febrero. Como la guerra es con ATE y no con SUTECBA, no se ve el sentido de este convenio. Hubiera sido un paso adelante un convenio con ambos sindicatos, pero ATE ha comentado en términos virulentos el convenio , considerándolo nulo y expresando que si el gobierno no encuentra un camino de equidad con ATE y los independientes, no habrá temporada. También dicen que este convenio se parece a anteriores componendas entre unos pocos delegados de SUTECBA y el Gobierno, sin consenso alguno.

    Después de la conferencia, SUTECBA envió algunos detalles, que muestran que en vez de aumentar los salarios en un porcentaje (para ATE y para mí debería ser del 40%) figura el viejo arsenal de sumas reconocidas por cosas que son simplemente una obligación, tales como presentarse a trabajar ("presentismo"), o hacer su trabajo dentro de su horario normal (¿cómo se mide la "productividad"?). Un punto donde quizás ATE esté de acuerdo es lo que llaman la "carrera", expresando que a medida que pasan los años de buen trabajo ello debería reflejarse no sólo en el salario sino en un puesto más alto en el escalafón; aunque el concepto es algo vago, tiene sentido. Y para muchos serán bienvenidas las sumas "adicionales" previstas: $250 en Enero, $300 en Febrero y $400 a partir de Marzo. Pero la mayor parte de los conceptos previstos en el convenio son no remunerativos, más cerca del negro que del blanco (llamémoslos como mucho "grises") y ése no es un buen camino. No cuentan para la jubilación.

    De modo que el convenio es en el mejor de los casos dudoso. Y como García Caffi promete sanciones aún más duras en contra de ATE (incluso penales) , y como la mayor parte de los miembros de las dos orquestas y del ballet se mostraron completamente en guerra en Diciembre con el Gobierno, no veo cómo este convenio puede asegurar nada bueno para el futuro. Pero el tiempo dirá.

    Dos posdatas: a) aunque García Caffi negó que haya algo de malo con los pisos del escenario y de la sala de ensayos del ballet (este cuerpo los denunció como duros y no aptos y actualmente el Dr. José Miguel Onaindia conduce una acción legal contra el Gobierno por las inaceptables condiciones de los pisos), anunció que el Colón compró un piso del tipo Arlequín, que supuestamente pasará nuestra Aduana en las próximas semanas. b) Los primeros tres títulos de ópera de la temporada ya están siendo preparados por los técnicos, que están trabajando durante estas semanas (supongo que toman sus vacaciones por turno). Son "Le Grand Macabre" de Ligeti, el "Trittico" de Puccini y "La Flauta Mágica" de Mozart. Esto al menos demuestra que García Caffi cree que puede ganar esta guerra. 

Doubtful agreement at the Colón offers no guarantees

            My last article on the Colón was published on December 7, 2010, and it had an ominous title: "The Colón war is on". Now an agreement with the labor union SUTECBA was presented by General Director Pedro Pablo García Caffi as a happy occasion that will assure the Colón´s activities during 2011. I disagree, and these paragraphs will explain why. But before going on to those arguments, some information concerning points raised in my mentioned article seems useful.

a)     I mentioned sanctions against seven people; now many others have been similarly sanctioned, and in one particular case, that of José Piazza, who had obtained a judicial sentence annulling it, not only this was disregarded but he got an extra 30 days of suspension!

b)     García Caffi had accepted the nomination of Máximo Parpagnoli to the often postponed election of the employees´ Director (according to the Autarchy Law there must be five directors, four named by Macri and one elected by labor). But SUTECBA, knowing full well that their candidate would lose and Parpagnoli (ATE´s representative) would win, "convinced" García Caffi to postpone the election another six months…

c)      Of course, the season wasn´t announced in December, and García Caffi said now that "in a few days" it will. If he does announce it, he would commit a grave irresponsibility, for there´s a basic fact: the budget wasn´t approved in December (I mean the City´s budget, which includes the Colón). The Legislature is supposed to tackle the problem in February and it is to be hoped that the city won´t fall into the trap of the nation´s Parliament (as you know, the 2010 budget will be the basis for 2011, and extra funds are decreed by the Executive with no holds barred). If the Colón´s budget is approved as presented, it would raise the total money available roughly from 145 to 185 million pesos, although with no salary raise! But if it isn´t, García Caffi would have to make do with forty million less, and as contracts are supposed to have been concluded that necessitate the higher figure to be accomplished, he would be in a jam. Also, I suppose he will have to add the new agreement, whose total amount wasn´t revealed.

d)     Indeed, what was left of the season at that time (December 7) didn´t happen, except for the Center for Experimentation and a show by the ballet students of the Institute.

                        And now, a synthesis of the press conference offered by García Caffi on January 20 at the City Government. To show the "elegance" of his ways, I received the invitation the same day at 12,30 a.m. and the press conference was held at 3 p.m…No wonder the dearth of my colleagues (apart from their possible holidays).

            Beaming, GC announced a salary agreement with the workers that includes a bettering of what they perceive but tied to a productivity clause. He mentioned no figures and gave no details, apart from saying that the objective was to ensure the full functioning of the theatre. He said that it was signed with the "labor representatives" and later, in the question-and-answer section of the conference, admitted that they were all SUTECBA and that ATE didn´t intervene. But he mentioned that "the majority" of the theatre accepted it. This is quite untrue, for most are on vacation until February 15 and couldn´t be consulted, and the next Assembly of the personnel is slated for February 16.

            He gave an interesting fact: the employees number 925; so, by the most devious  and aberrant ways, he has come close to the goal of eliminating 400 people from the Colón roster. ¿But how many of the absent ones have been replaced by outsiders? ("tercerización"). I believe that if the figures were available they would show that the Government is actually paying far more; so what is the sense of such disrupting and silly transfers? A case in point: the last number of the Colón magazine is a portfolio of photographs signed Parpagnoli (¡) and Colombaroli, a "dissolved" section that the Colón was forced by judiciary sentence to take back.

            The agreement was ratified by the central labor talks of the City ("paritarias"), which also means SUTECBA. However, there have been agreements between the Government and ATE during 2010. Considering that nowadays about 18% of the Colón is SUTECBA, another 18% is ATE and all the rest are independent, and that the Assembly only convenes on February, this is only an agreement with a minority sector with little chance to be approved in February. As the war was on with ATE and not SUTECBA, one hardly sees the point of it. A breakthrough would have been a joint session with both unions, but ATE has now commented in virulent terms GC´s agreement, considering it null and saying that unless the Government finds a way to be fair to ATE and the independents, there will be no season. They also say that this resembles earlier "arrangements" between a few SUTECBA delegates and the Government, with no consensus at all.

            SUTECBA also sent, after the press conference, some details, and it shows that instead of simply augmenting salaries a given percentage (for ATE, and I agree, it should be 40%), there´s the old arsenal of sums for things that are simply an obligation, such as showing up at work ("presentismo"), or doing their job during their appointed hours (how do you measure "productivity"?). One point with which I suppose ATE can agree is what labor men call "the career", meaning that years of good honest work should include both a better salary and a higher place in the pay roll; although the concept is rather vague, it makes some sense.  And  the "additional" sums of $250 in January, $300 in Febaruary and $ 400 in March will be welcome, of course. But most of these moneys are what they call "non-remunerative", which means that they are closer to black than to white (let´s call them "grey" at most), and that´s hardly a good road to take. It won´t count for retirement.

            So the agreement is moot at best. And as GC promises deeper sanctions against ATE (even penal ones) and as most orchestra and ballet members have shown themselves completely at war with the Government in December, I don´t see how this ensures anything good for the future. But time will tell.

            Two postscripts: a) although denying that there´s anything wrong with the floors of the stage or the rehearsal room (the ballet has denounced them as hard and currently Dr. José Miguel Onaindia is conducting a legal action against the Government for lesions and unacceptable conditions), GC announced that the Colón has bought a new floor of the Harlequin type, supposedly going through our Port´s customs in the next weeks. b) The first three titles of the opera season are being prepared already by the technicians, who are working during these weeks (I suppose they take their vacations by shifts). They are Ligeti´s "Le Grand Macabre", Puccini´s "Trittico" and Mozart´s "The Magic Flute".  This shows at least that GC still believes that he will win the war.

For Buenos Aires Herald