an blog | AJBlog Central | Contact me | Advertise | Follow me:

Katie Wagner demands more public cash to help pay the wages

The co-boss of Bayreuth told the FAZ this weekend she wants more financial support from the Federal Republic, Bavaria, the town of Bayreuth and the Festival friends. Wages, she says, are going through the roof.

She and her half-sister Eva (right) are contemplating their own contracts, which expire in 2015. Don’t expect them to walk away: the little lady in the middle won’t treat them like Greece and Cyprus.

Read summary here.katharina wagner

Related Posts Plugin for WordPress, Blogger...

Comments

  1. Shirley de Kock Gueller says:

    while they are considering their contracts, they may like to consider the Wagner Societies around the world who are no longer allowed to get tickets for their members, which makes it hard for some societies to offer benefits to members. It’s the Bavarian Government that made the change, but I am sure they can ask them nicely ….

  2. OMG. The sooner they walk/get walked away, the better.

    They failed to answer the question what this festival is ggod for nowadays, i.e. is there anything Bayreuth can do that the rest of the opera world can’t?

    • Fabio Fabrici says:

      What this festival is good for nowadays? To play Wagner’s operas maybe? Glad I could help.

      • That’s something every major opera house does in at least the same (often higher) quality than Bayreuth. So why do we need a festival?

    • Theodore McGuiver says:

      You could level that argument against any music festival. Bayreuth was the world’s first and is unique in its composition. It’s also the only festival I know of where the only star is the music.

      • You have a point indeed when you compare Bayreuth to other festivals. My point is: Are current Bayreuth productions in any respect better/more interesting/intriguing/innovative/remarkable than the average Wagner productions at the world’s (or even Germany’s) major opera houses?

        Festivals are festivals because they claim to be something special. The environment in Bayreuth still is, but the productions and performances are no longer.

        Bayreuth still has an excellent orchestra and an excellent chorus, but it no longer brings together the best singers, conductors and stage directors. Some of those who produce and perform there are indeed excellent or at least remarkable, some are just fair, and some justify the question who on earth decided to hire them.

  3. Rosalind says:

    Anyone know how much Katie and Eva earn?

  4. PK Miller says:

    Greed, glorious greed…. I agree w/Simon. I think Bayreuth has lost its cachet. (I also agree w/yesterday’s NY Times that if James Levine were active as Artistic Director at The Met the debacle of the “Machine” might not have happened. We can only speculate…) I don’t understand the politics in this case but when the people get closed out….

  5. John Parfrey says:

    Where’s King Ludwig when they really need him?

  6. Michael Schaffer says:

    “the little lady in the middle won’t treat them like Greece and Cyprus”

    Of course not. The Bayreuth management can be criticized for many things, but it seems that they have been fiscally fairly responsible. Unlike those countries which piled up billions and billions and billions and billions and billions of debt – and they didn’t even use the money to build up their infrastructure and invest in their industries, in education, in their own people. They just borrowed and spent, borrowed and spent, borrowed and spent, borrowed and spent…And now they are upset the EU won’t just give them even more money with no conditions attached, they riot in the streets.

    So what’s the point of the comparison?

    • Timon Wapenaar says:

      Oh no. Ohhh no. With Deutsche Bank leveraged 40:1, and with derivatives exposure of EUR55 trillion (German GDP is EUR2,7 trillion)? And this isn’t an indicator of fiscal insanity?

      • Michael Schaffer says:

        Those are big, impressive numbers. But what do they mean? Can you explain, please?

an ArtsJournal blog