{"id":131,"date":"2008-11-10T14:33:34","date_gmt":"2008-11-10T14:33:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/lifesapitch\/wp\/?p=131"},"modified":"2008-11-10T14:33:34","modified_gmt":"2008-11-10T14:33:34","slug":"impresario_this","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/lifesapitch\/2008\/11\/impresario_this\/","title":{"rendered":"Impresario this"},"content":{"rendered":"

“The irony of all this, I really believe, and many others do as well, is if we could simply have gotten the first season on the boards, it really would have galvanized fund-raising.” – New York City Opera’s Susan L. Baker to The New York Times<\/i><\/a> 11\/7\/08, on losing Gerard Mortier due to a lack of funds.<\/p>\n

\"City-Opera.jpg\"<\/span>I hate to kick City Opera while it’s down but…what first season? The homepage of their website<\/a>, above, looks like the same old City Opera. I realize they need to promote the concerts they’re presenting around town this season, but why is there NOTHING about the awesome 09-10 season we’ve all been told to eagerly await on this homepage? I can’t even find the original season announcement in their Press Room<\/a> section. <\/p>\n

If City Opera was waiting until Mortier arrived to launch a new site, the powers-that-be made a huge mistake<\/a>. Launch that puppy NOW (well, not now <\/i>now, but at the beginning of the 08-09 season). Create a new logo. Employ Howard Dean\/Obama online fundraising techniques: if you’re going to really be The People’s Opera, forget fancy Young Associates receptions and take my $25. Mortier graces you with his presence every 5 weeks? Sit him down for short video interviews every time he shows up and post them on your site and YouTube. Follow him around to meetings with a camera so we get some sense of what he’s doing. Philip Glass is in the office? That’s gold! Film him chitchatting with Mortier in the hall and put it on the site. Obviously, not all meetings can be filmed, but some can. Why not put a semi-staged meeting with Mortier and the communications department on the web? “Alright, mes camarades, we have this great season of 20th century music coming up, how are we going to market it?” Brainstorm brainstorm, film film. The worst thing that could happen is that potential new audiences actually find your filmed marketing meeting on YouTube and comment on it; that’s free advertising and a free focus group all in one.<\/p>\n

And you, Gerard “Mortier”, you sir, are on my bad list. Also from The New York Times<\/i>:<\/p>\n

\n

Speaking by telephone from his apartment in Ghent, Belgium, Mr.
\nMortier said he decided to resign when it became clear that the board
\nwould not give him the money needed to produce a meaningful slate of
\nopera productions. He said that from the start he had been promised a
\nbudget of $60 million, a number even mentioned in his contract. But the
\nboard was prepared to approve only $36 million, he said, not much more
\nthan the basic fixed costs of running the company, leaving him little
\nroom for innovative productions.<\/p>\n

“I told them with the best
\nwill, I can’t do that,” Mr. Mortier said. “I cannot go to run a company
\nthat has less than the smallest company in France.” Mr. Mortier is in
\nthe final year of running the Paris National Opera, which has a budget
\ncloser to $300 million. “You don’t need me for that,” he said.<\/p><\/blockquote>\n

Actually, they do need you for that. They need exactly you for that. So kindly check your “Impresario” hallmark at the door, or perhaps qualify it in the future with “as long as I have money to spend”. What kind of impresario is that?? Sure, if you were promised a certain budget and you didn’t get it (among other complications, I’m sure), you have every right to walk. But what a star you would have been if you had just made it work. When life gives you less money than expected, make creative viral marketing and interesting artistic programming lemonade. I was interviewed this morning about how the economy is affecting the arts, and in the middle of the interview realized that I’ve been seeing “Recession sales” all over the place, and yet none on the NYC classical music scene. It’s not actually funny that people are losing their jobs, but a recession is funny if you make it funny. [That may be the worst sentence written on this blog to date, but I hope you get my point.] And beyond having comedy potential, admitting that we’re in a recession and that you don’t have the budget you thought you would makes you accessible and instills compassion from the masses: we’re all in this together. <\/p>\n

Now, we all know the economy is not the only thing to blame for City Opera’s lack of fundraising, but why didn’t the company take advantage of that unfortunate historical moment and use it as a scapegoat here? More importantly, now that THAT opportunity has passed, will they use this more personal crisis – Mortier’s pre-resignation – to their advantage? If City Opera called me up or sent me an e mail today about a new “Save City Opera!<\/a>” campaign, I would write them a check. It wouldn’t be for thousands of dollars, but it would be something. <\/p>\n

You really want to be The People’s Opera, New York City Opera? Then seize this moment and raise some grassroots cash. The URLs http:\/\/www.savecityopera.com\/<\/a> and http:\/\/www.screwmortier.com\/<\/a> are both available. <\/p>\n","protected":false},"excerpt":{"rendered":"

“The irony of all this, I really believe, and many others do as well, is if we could simply have gotten the first season on the boards, it really would have galvanized fund-raising.” – New York City Opera’s Susan L. Baker to The New York Times 11\/7\/08, on losing Gerard Mortier due to a lack […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[9],"tags":[],"class_list":{"0":"post-131","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/131","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/comments?post=131"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/posts\/131\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/media?parent=131"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/categories?post=131"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/lifesapitch\/wp-json\/wp\/v2\/tags?post=131"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}