Stephane Lissner and La Scala

🙂 Italy-Belcanto > Barenboim and La Scala >
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Please check
🙂 La Scala’s Lissner failed in Salzburg on May 19, 2009 (… after failing in Berlin…)
🙂 JIWON: Who keeps sending me this f*cking message?
🙂 ‘Barenboim+Bashkirova’ under the auspices of Ministry of Heritage and Culture (Jan 26, 2009 in Teatro Carlo Felice, Genova Italy)
🙂 ‘Barenboim+Bashkirova’ in collaboration with the teachers of Music DAMS (Jan 27, 2009 in Lingotto, Torino, Italy)
🙂 ‘Barenboim+Bashkirova’ in central Bologna, between the historic centre and the university (Jan 31, 2009 in Teatro Manzoni, Bologna, Italy)

🙂 Participants in Lissner’s SEX-scandal at La Scala
🙂 Bashkirova’s Performance Schedule after Jerusalem Festival 2008
🙂 Franz Xaver Ohnesorg, Gidon Kremer, Dmitri Bashkirov, and Dorit Beinisch (JIWON: This collection is not finished. I’ve been too tired to mention this sh*t.)

🙂 Lissner-Scandal: Roberto Alagna on Dec 10, 2006
🙂 Lissner-Scandal: Marcelo Alvarez on Nov 9, 2007
🙂 Lissner-Scandal: Giuseppe Filianoti on Dec 7, 2008

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Comment 1 on May 26, 2009: Looks like La Scala’s singer budget is running low. There is only a handful of famous singers that I’d be willing to pay to see. Boring opera, boring singers. Sorry, but this new season is just fluff.
Comment 2 on May 28, 2009: I don’t think it’s such a great season. La Scala has fallen prey to those who have brought its level to the level of every other opera house. La Scala once excelled in the Italian repertoire and any foray outside of that was done with the utmost delicacy and with only the highest artistic content possible. Now you can go to Munich, Zurich etc etc for less money and see the same, if not better, things.
Comment 3 on May 28, 2009: Well, far be it for us to claim superiority for La Scala over Munich and Zurich (which, on balance seem to have the best seasons next season – superior to the Met, Vienna, CG, Paris and the like, in our opinion) and perhaps those who feel it should aspire to such superiority have little enough to get excited about. Still, on its own merits the program seems quite excellent, and as we say above, well worth attending if one is in the vicinity.
Comment 4 on May 26, 2009: The recital list is very uninspiring. It’s just a vague collection of uninteresting singers. Filarmonica invites some of the best conductors around, but the works are so predictable and boring.
Comment 5 on May 19, 2009: I weep for that recital season. Angela Denoke? Waltraud Meier?? Is it that Scala can’t afford the big hitters anymore? Or no one wants to deal with them? Even the Minnesota Schubert Club can lure a better rotation.
Comment 6 on May 19, 2009: Waltraud Meier is La Scala’s lapdog and sleeps at Barenboim’s feet.
(JIWON: Please don’t forget that Zubin Mehta’s Italian FOLKS are real busy at working in ALL Barenboim’s Fora in these days… So, I need to be very careful while searching for commenters. And I only pick up the reasonable criticism and ‘study’ their items, including their favorite VOICES, before posting in my blog.)

Alla Scala vincono le passioni forti May 27, 2009 / By Il Secolo XIX
(…) Lissner wanted to remember how, on arrival in Milan, had said that it would take five years to launch a season really “his.” Now the time has arrived and the next season will see the great names of directors, directors, singers, who, with a long work on programming, Lissner was able to bring in Milan. (…)

La Scala to open next season with “Carmen” May 26, 2009 / By Reuters
(…) “This is the season closest to my idea of La Scala, a turnaround season that consolidates the goals that have been already partly net,” such as an increase in the number of performances, La Scala General Manager Stephane Lissner told a news conference. However, Vice Chairman Bruno Ermolli warned that La Scala faced red ink next season and possible program cuts if the government failed to confirm financing for it and other theaters. La Scala relies on government funding but has ended four straight seasons in the black. (…)

Apre «Carmen» Abbado sul podio dopo 24 anni il Giornale – ‎26-mag-2009‎
Scala MilanoAnche the crisis is felt and you pull the strap. Not as elsewhere, disagree. For the next season, made yesterday, in fact, expect seven new productions of works by five shots, and six ballets, including two new brand. Parade beautiful items, wands, directors and dancers. The superintendent Stéphane Lissner admits, however, that he had to slip away a few years el’Incoronazione Luisa Miller di Poppea “to avoid blow productions per season started,” she explains.
Adjustments and shifts in part, Lissner yesterday finally presented the bill in his head once you enter the threshold of the Scala in May 2005, but that required a long period of time so that we could achieve. Why artists should be requested well in advance, “they want to be sure to work with colleagues estimate that,” says Superintendent pulling the ball into the sound reasons of ethics and sentiment. Those same artists also fly in the desert Abu Dhabi and Doha catalyzed dunes of petrodollars. The family of artists expected by next December 7 has its maximum leader Claudio Abbado, who after 24 years of absence from Milan again in June by virtue of an eco-blackmail: he wants the trees. And the trees are. Letizia Moratti, Mayor of Milan and President of the Board, confirmed the proposed planting of trees. And the other big missing, ie, Riccardo Muti? ‘I sent him a letter, but I did not have answers. Perhaps they have not received, you will blame the Italian post office ‘joked Lissner. (…)

Stéphane Lissner’s Interview: “I grandi cantanti disertano la Scala. Temono i fischi” May 5, 2009 / By La Stampa
‎ Stéphane Lissner: “The great singers deserting the Scala. They fear the whistle”
France celebrates the Superintendent
its first four years in Milan
Budget for four years: 52 productions of opera, ballet 24 ‘and ten kilos more, “sighs Stéphane Lissner, superintendent and artistic director of La Scala. The risotto, you know … “No, is the fault of the sandwiches in the intervals. For him, yesterday was an important day: the first foreigner on this Poltronissima, arrived in Milan on 2 May 2005, a theater in the heel after Riccardo Muti had chased the superintendent Fontana and workers had chased Muti. Today the scale is again “one of the top five opera houses in the world,” said showing him the gift of his staff: a photo on a gray background threateningly and blood red writing: “So many ways to suffer.” It is an allusion to the poster advertising, vaguely pulp, come next on the walls of Milan. In the well-, Patrice Chéreau and Daniel Barenboim hug exhausted but happy after the last Tristan. Slogan: “I was not there. How can regret enough. ”

Monsieur Lissner, the show that made her most proud of?
“Precisely the Tristan.

What can not draw?
“We redo all”.

Well, what I draw, but different?
‘The Merry Widow. ”

The press, at the beginning, the war did. Now, apart from the recent Japanese in the jungle are all with you. Resipiscenza or Italianissimo usually run in aid to the winner?
“Journalists take note of the facts. Now, the theaters are judged primarily on who directs us. Well: Pierre Boulez, who came to the Christmas Concert of 2005 as a personal gift to me, will open next season as the symphony orchestra likes. Daniel Harding, the master of my first “first”, this will direct the ballet. And so on.

It is said that you do not love the Italian repertoire: Verdi yes, Bellini and Donizetti no.
“What I love or not does not matter. But this season, seven out of 13 titles are in Italian opera. Of course, it is difficult to convince the great masters to direct the belcanto.

In fact they are works for singers.
“And where are they? I do not not want to sign standard, is that I do not have anyone that the songs’.

But in the rest of the world standard is given …
“The truth is that many singers do not want to come to La Scala because they are afraid of being booed.”

But in 2011 she will open with Lucia di Lammermooor, conductor Barenboim, director Carsen, the prima Netrebko. Anna Lucia can be beautiful at La Scala?
“Why not?”

Why the madness, I will not flat and the lincerà gallery.
“Bullshit. Two months ago in New York there was acute. He has done, is doing it, makes it here! If we decide to whistle before listening, that fischino.

Meanwhile, the next is December 7 Carmen with Barenboim and directed by Emma Dante, which is considered a revolutionary for the prose, let alone for the work. You can really make all that take?
‘Will produce the project that was submitted and we have discussed at least ten times. And that is beautiful. ”

It is also true that debuted Carmen?
“Verissimo. Her name is Anita Rachvelishvili, is Georgian, has 25 years and quit dall’Accademia Scale.

A young man at St. Ambrose beginner? Sacrilege …
“It came to a hearing for Frasquita. We were there for me is Barenboim. She sings, we look, then asks him: he also knows the part of Carmen? You: sure. It attacks the Habanera. Daniel was up on stage, it was placed at the piano and after two minutes already worked together on the character. ”

In return, you fight with all the levels: Alagna, Alvarez, Filianoti …
“But then I make peace. Alvarez returns: Tosca with Gatti in 2011 and Manon Lescaut in 2012 with Pappano. Filianoti waived all’Idomeneo this year, but it is a choice, not of the scale. In fact, he sang in our Messa da Requiem on tour in Berlin. ”

Talk about money. With the latest cut in the Fus Scala has called us?
“About 7 million, but recovering more than three because, with the curtain raised three hundred year, our percentage of what remains has grown. I saved 15% of expenditure, I closed the balanced budgets and stable personnel costs. I can not cut anything. So really in danger of closing. ”

The reform is going to be?
“I hope. But in Rome believe that the theaters are only able to squander money. Well, it’s not true. I say this on behalf of 800 people who work at La Scala. Repeat:-vo-ra-no. ”

A stranger as she managed to grasp the subtleties of Italian politics?
“For a French Cartesian is difficult. But often at all is resolved. ”

In short, is optimistic.
“We say realistic.

Berlusconi thinks what?
‘None. Scala, in these four years, we have never seen. ”

In return back Abbado.
“The most beautiful news. When I said, at his home in Bologna, I did, as they say in Italian?, Shouting with joy. ”

Muti also Rispunterà?
‘Already asked in 2013, Verdi years.

And he?
‘Who knows’.

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(Updated on Dec 26, 2008)
JIWON: I am also collecting articles about Lissner-scandal starting from Tenor-2007. I just want to know if Ohnesorg-System has been Lissner’s favorite working style. I also know that I should never openly side with specific musicians until I know all the details. I just know that it will be worth listening to the performers as long as their complains are same. In ALL the previous cases, whenever Barenboim’s working partner planned something stinky, it was rather Barenboim, who was insulted by the victims, and Barenboim has always finished his era in disgrace. Therefore, this collection will not appear until I am sure of something.

1. Google-News: Scala + Lissner
2. Italian Google-News: Scala + Lissner (Italian Google-News: Scala + Lissner (En-Tool))

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JIWON: Great to find that this Abbado and Muti’s interview is made after my open message to Italian Opera Lovers, including Politicians. Dear Italian Government, (Barenboim, La Scala, WEDO and Italian Wagner Festival) Again, neither Lissner’s Muti nor Muti’s Lissner is my business. There is a story between those two professionals and this is what they should solve by themselves. My only concern is Filarmonica della Scala’s Muti or Muti’s Filarmonica della Scala. I clearly know how their relationship ended. Then why Maestro Muti never mentions this? He only blames Lissner… weird. BTW, the author misspelled Barenboim… as Barnboim. *.*

Elio in prima assoluta ricordando l’Olocausto il Giornale – 10 gen 2009 / di Elsa Airoldi
Elio premiered remembering the Holocaust

Non c’è pace tra le note. Sul tavolo di comando del Piermarini rimbalza il problema del direttore musicale. Claudio Abbado promette di tornare alla Scala a patto che il suo cachet ammonti a 90mila «alberi». La città, che vuole prendere la sfida ecologica sul serio, si dice pronta a dar mano alla zappa. Naturalmente Stéphane Lissner sarebbe felice di riavere anche Riccardo Muti, andrebbe ovunque per chiederglielo. Non lo trova. Il maestro risponde che lui non s’è trasferito in un igloo e che non sarebbe poi troppo disagevole arrivare in quel di Piacenza dove, con cadenze ravvicinate, è impegnato nell’addestramento della «nuova» Cherubini. Cecilia Chailly, figlia di Luciano e sorella dell’altro Riccardo, ce l’ha con la classica che emargina le donne. Lei compresa, che pure era prima arpa della Scala a soli 17 anni. Per scegliere in seguito l’immersione nella maggior libertà e autonomia del crossover musicale che assembla i generi più diversi, dal pop, al rock, al teatro-canzone.
No peace between the notes. On the table control Piermarini reflected the problem of musical director. Claudio Abbado promises to return to La Scala as long as its cachet amounts to 90mila ‘trees’. The city, which wants to take the ecological challenge seriously and are willing to give the hand hoe. Stéphane Lissner course would be happy to get even Riccardo Muti would go anywhere to ask. Not found. The teacher replied that he has been moved to an igloo, and then it would not be too uncomfortable to get to that in Piacenza, where, at rates close-ups, is involved in training the “new” Cherubini. Cecilia Chailly, Luciano daughter and sister of Richard, has the classic that marginalizes women. She understood, though it was the first harp Scala just 17 years. To choose in the draft in more freedom and autonomy of crossover music that assembles the most diverse genres, from pop, rock, theater-song.
Più o meno lo stesso ambito, per intenderci, nel quale agiscono ciascuno a suo modo altri due eroi del tempo presente di solida preparazione accademica che non intendono rinnegare. Giovanni Allevi pianista e compositore «troppo pop», e Stefano Belisari in arte Elio (quello delle Storie Tese) incarnazione della trasgressione. Entrambi santificati da sacrosanti e plurimi diplomi di Conservatorio. Il nostro. Non ci illudiamo che Abbado torni con la sua foresta di Birnam, né che Muti possa dimenticare tanto presto l’offesa dei suoi «figli» scaligeri. Quanto a Cecilia ha fatto altre scelte. In cambio ci troviamo davanti a un Allevi «istituzionale» protagonista del concerto di Natale in Senato. Dove miete illustri applausi e soprattutto astrali indignazioni. E a un Elio che sta approdando alla Scala. Alla Scala? Elio? Sissignori. Apriti cielo.
More or less the same field, for instance, in which each act in its own way the other two heroes of this time of strong academic preparation who do not wish to deny. Giovanni Allevi pianist and composer “too pop”, and Stefano Elio Belisario in art (the Storie Tese) incarnation of the transgression. Both sacred and sanctified by multiple diplomas Conservatory. Ours. No illusions that Abbado returns with its forest of Birnam, or that Muti might forget so soon the offense of his “sons” Scaliger. As for Cecilia has made other choices. In return, we have an Allevi ‘institutional’ player in the Christmas concert in the Senate. Where reaps applause and especially distinguished astral indignation. And in a Helium that is landing at La Scala. Scala? Helium? Yes, sir. Open sky.
Messe da parte le canzonacce, e non senza precedenti di nome Rossini Opera Festival o Orchestra di Toscana, domani il nostro è infatti al Piermarini nelle più seria (e drammatica) delle ricorrenze. È infatti la voce recitante (testi di Luciano Violante, proprio lui, il magistrato ed ex-presidente della Camera dei Deputati) nella prima assoluta di «Memoria», di Luca Lombardi. Brano per recitante e quattro strumenti (le tre prime parti della Filarmonica Fabrizio Meloni clarinetto, Klaidi Sahatci violino e Alfredo Persichilli violoncello accanto al pianista Roberto Prosseda) sul delicato tema dell’olocausto che torna anche nel programmato «Quatuor pour le fin du temps» scritto da Olivier Messiaen nel 1940, in un campo tedesco della Slesia. Il concerto di «Invito alla Scala» (ore 15) prelude infatti alle celebrazioni del 27 gennaio, il giorno della memoria. Storico e immanente l’omaggio di Lombardo (Violante si ispira parzialmente a Primo Levi) e teologico-filosofico quello di Messiaen.
Set aside the canzonacce, and not unprecedented in name or Rossini Opera Festival Orchestra of Tuscany, our tomorrow is the Piermarini in the most serious (and dramatic) of occurrences. It is the narrator (texts of Luciano Violante, just him, the magistrate and ex-chairman of the Chamber of Deputies) in the premiere of ‘Memory’, Luca Lombardi. Composition for four instruments and reciting (the first three parts of the Philharmonic Fabrizio Meloni clarinet, violin and klaidą Sahatci Alfredo Persichilli cello next to the pianist Roberto Prossedi) on the delicate topic of the Holocaust which was also programmed in the “Quatuor pour le fin du temps” wrote by Olivier Messiaen in 1940, in a German camp in Silesia. The concert of “Invitation to Scale” (15 hours) in fact a prelude to the celebrations of January 27, the day of memory. The immanent and historical tribute to Lombardo (Violante is based partly on Primo Levi) and theological-philosophical to Messiaen.
Consumata la profanazione del tempio, di sera torna la normalità. Tocca infatti al secondo appuntamento con la stagione dei filarmonici (ore 20), che dopo il tumultuoso debutto con Barnboim decentrato al Conservatorio (scioperavano i macchinisti, ndr), riconquistano il Piermarini. Sul podio della Filarmonica Daniele Gatti. Con lui la Terza di Brahms, il Poema Sinfonico Don Juan di Richard Strauss e i Tre Pezzi per orchestra op.16 di Alban Berg. Un pacato e affascinante excursus dal tardo romanticismo brahmsiano alla svolta impressa da Berg (che nel 1913/14 dedica i Pezzi a Schönberg) attraverso la sontuosa stagione straussiana.
Consumed the desecration of the temple, in the evening back to normal. It touches on the second edition of the Philharmonic season (20 hours), that after the tumultuous debut with Barnboim decentralized at the Conservatory (striking drivers, ndr), the re Piermarini. On the podium of the Philharmonic Daniele Gatti. With him the third of Brahms, the symphonic poem Don Juan by Richard Strauss and the Three Pieces for orchestra op.16 by Alban Berg. A calm and fascinating excursus in the late romanticism at the turn brahms impressed by Berg (which in 1913/14 dedicates Pieces to Schönberg) through the season sumptuous Straussian.

Bäume, Iglus, Dirigenten: Abbado ist willig, Muti sauer 12.01.2009 | 18:25 | (Die Presse)
Trees, igloos, conductors: Abbado is willing, Muti sour

Nach finanzieller Sanierung sucht die Scala einen Musikdirektor.
After the financial reorganization seeks Scala a music director.

Riccardo Muti war nicht amüsiert: „Herr Lissner behauptet, dass er mich gern treffen würde, er hat mich nie aufgesucht“, schimpfte der Dirigent jüngst, nachdem er vernommen hatte, dass Scala-Intendant Stéphane Lissner ihn gerne nach Mailand zurückholen würde. Nach einem Streit mit dem Orchester war Muti im April 2005 als Musikdirektor zurückgetreten. Seitdem ist die Stelle vakant. „Vielleicht hat man Lissner informiert, dass ich in einem Iglu lebe“, höhnt Muti im Gespräch mit dem Mailänder „Il Giornale“: „Er sollte aber wissen, dass er nicht allzu weit gehen müsste. Ich bin mit dem Cherubini-Orchester oft in Piacenza. Ich weiß nicht, worauf er wartet.“
Riccardo Muti was not amused: “Mr Lissner claimed that he would make me happy, he has never visited me,” railed the conductor recently, after he had heard that Scala director Stephane Lissner like him to Milan would get back. After a dispute with the orchestra was in April 2005, Muti was music director resigned. Since then, the positions vacant. “Perhaps they Lissner informed that I live in an igloo,” Muti mocked in an interview with the Milan “Il Giornale”: “He should know, however, that he did not have to go too far. I’m with the Cherubini Orchestra often in Piacenza. I do not know what he is waiting. ”

Will Muti denn an die Scala zurück? „Ich bereue keinen einzigen Tag der 19 Jahre als Musikdirektor. Es war eine wunderschöne Zeit“, sagt er – und: Er sei nicht verbittert, aber: „Ich will in Frieden gelassen werden.“
Will Muti because the Scala back? “I do not regret a single day in 19 years as music director. It was a wonderful time, “he says – and he was not bitter, but:” I want to be left in peace. ”

„La Scala ist eine schöne Braut, die nicht nur einen Frühstücksdirektor braucht, der Event-Glanz, Glamour und gute Regenbogenpresse balanciert. Sie braucht in erster Linie wieder einen spannenden Spielplan“, schrieb die „Frankfurter Allgemeine Zeitung“ 2005, als Lissner zum künstlerischen Direktor ernannt wurde. Lissner sei ein Könner, der musiktheatralische Institutionen wie „Phönix aus der Asche“ aufsteigen lasse, schwärmte die „FAZ“. Andere sind weniger begeistert. Sie sehen in dem Franzosen einen Ämter-Kumulierer und kühlen Macher, dem schicke Optik wichtiger sei als musikalische Qualität. Wenn Lissner 2013 die Scala verlässt, wird er jedenfalls immerhin acht Jahre auf diesem Schleudersitz der Opern-Landschaft ausgeharrt haben.
“La Scala is a beautiful bride, which is not only a director needs breakfast, the event-gloss, glamor and good rainbow Press balances. She needs primarily to an exciting schedule, “wrote the Frankfurter Allgemeine Zeitung” in 2005, when the Lissner was appointed artistic director. Lissner was a rounder, musiktheatralische institutions such as the “phoenix from the ashes” let up, enthused the “FAZ”. Others are less enthusiastic. You’re in a French office-makers accumulate and cool, the chic look more important than musical quality. If Lissner 2013 Scala leaves, he will in any case at least eight years in the ejector seat of the opera landscape ausgeharrt have.

Über Italiens Kultur ziehen indes finstere Wolken auf. Die Regierung Berlusconi beschloss ein 200 Mio. Euro schweres Sparpaket. Namhafte Institutionen wie die Arena von Verona oder die Oper von Neapel wackeln. Nur die Scala und das Orchester Santa Cecilia in Rom sollen verschont bleiben.
About Italy’s culture, however, dark clouds move on. The Berlusconi government decided on a heavy 200 million euros savings. Prestigious institutions such as the Arena of Verona and the opera in Naples wiggle. Only the Scala and the Orchestra of Santa Cecilia in Rome should be spared.

Die Suche nach einem neuen Scala-Musikchef gestaltet sich schwierig: Im Gespräch ist Daniele Gatti, der aber beim „Carlos“ im Dezember ausgepfiffen wurde. Ferner genannt werden Antonio Pappano, Musikdirektor des Londoner Covent Garden Orchesters und der Accademia di Santa Cecilia in Rom – und Riccardo Chailly, der seinen Vertrag mit dem Leipziger Gewandhausorchester bis 2015 verlängert hat. Bis 2013 wird immerhin Daniel Barenboim zwei bis drei Produktionen in der Scala machen, doch er ist ebenso gebunden – in Berlin.
The search for a new La Scala boss music is difficult: The interview is Daniele Gatti, but at the “Carlos” was in December. It also called Antonio Pappano, music director of London’s Covent Garden Orchestra and the Accademia di Santa Cecilia in Rome – and Riccardo Chailly, whose contract with the Leipzig Gewandhaus Orchestra has extended until 2015. Until 2013, Daniel Barenboim at least two to three productions at La Scala, but he is equally bound – in Berlin.

Jüngst meldete sich auch Claudio Abbado zu Wort: Der 75-jährige Leiter des Lucerne Festivals war schon 1968 bis 1986 Musikdirektor in Mailand. Er schließt eine Rückkehr nicht aus, will aber, dass in der Stadt 90.000Bäume gepflanzt werden. Abbado will „mit Natur bezahlt werden“. Kostenpunkt: 22Mio. Euro. Sollte man die nicht lieber in das Opernhaus investieren? Und: Gibt es in Mailand keine Bäume? Doch, auf sieben Einwohner kommt einer. So sorgt die ehrwürdige Scala immer wieder für Aufregung, und manchmal auch für Schmunzeln. bp
Recently reported also to Claudio Abbado word: The 75-year-old director of the Lucerne Festival was 1968 to 1986 music director of Milan. It includes a return does not want, however, that in the city 90.000 Bäume planted. Abbado will “be paid for with nature.” Cost: 22Mio. Euro. Should we not prefer the Opera House to invest? And: Is there no trees in Milan? However, in seven residents is a. Thus, the venerable La Scala again for excitement, and sometimes even smile.

(“Die Presse”, Print-Ausgabe, 13.01.2009)

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Mailänder Scala: „Keiner wird verschont bleiben!“ 12.01.2009 | 18:25 | BARBARA PETSCH (Die Presse)
La Scala: “Nobody will be spared!”
Der künstlerische Direktor Stéphane Lissner über sein Sparprogramm und die Abwendung des Streiks. Sponsoren können den Staat nicht ersetzen, sagt er – und: Das Kulturklima wird allenthalben frostiger.
The artistic director Stéphane Lissner about his austerity program and to avert the strike. Sponsors can not replace the state, he says – and the cultural climate is everywhere frosty.

Die Presse: Von der Scala erreichten uns zuletzt vor allem Meldungen von Krise, Streik. Im Dezember hätte beinahe die Saisoneröffnung nicht stattfinden können. Wie ist es Ihnen gelungen, die Belegschaft zu beruhigen?
The Press: From the Scala last reached us mainly reports of crisis strikes. In December had almost opened the season could not take place. How have you managed to calm the workforce?

Stéphane Lissner: Alle vier Jahre werden Unternehmensverträge abgeschlossen. Das sind sehr schwierige und komplexe Verhandlungen, die ungefähr vier bis sechs Monate dauern. Am 30. Juli wurde der Vertrag mit den drei großen Gewerkschaften geschlossen, am 1. Dezember jener mit der autonomen Gewerkschaft.
Stéphane Lissner: All four years will be undertaking contracts. These are very difficult and complex negotiations, which is about four to six months. On 30 July, the contract with the three major trade unions, 1 December of that with the autonomous trade union.

Das heißt, das Problem ist jetzt gelöst?
Lissner: Ja.

That is, the problem is now solved?
Lissner: Yes.

Aber was konkret haben Sie gemacht? Die Scala war doch seit Jahren in der Krise.
Lissner: Wir haben seit 2005 immer ausgeglichene Budgets, obwohl uns die italienische Regierung sechs Mio. Euro gestrichen hat. Ich habe die Ausgaben in den letzten drei Jahren um 13 Prozent gesenkt. Ich habe in verschiedenen Bereichen, die nicht direkt mit der Oper zu tun haben, rationalisiert, vor allem beim Museum, bei der Akademie, beim Bookshop und in der Abteilung für Kostüme und Kulissen…
But what exactly have you done? The Scala was for many years but in a crisis.
Lissner: We have since 2005 always balanced budgets, even though the Italian government six million euros has deleted. I have the spending in the last three years by 13 percent. I have in different areas, not directly connected with the opera have to do to rationalize, particularly in the museum at the Academy, the bookshop and in the Department of Costumes and scenery …

Die Scala und das Orchester Santa Cecilia in Rom blieben als einzige von einem großen Sparprogramm der Regierung Berlusconi verschont. Es gibt heftige Proteste. Was passiert mit den Kulturinstitutionen in Italien?
The Scala and the Orchestra of Santa Cecilia in Rome, remained as the only by a great austerity program of the Berlusconi government spared. There are violent protests. What happens to the cultural institutions in Italy?
Lissner: Das Klima wird auf der ganzen Welt schwieriger. Heuer wird sich das noch verschärfen. Die Krise hat ja noch gar nicht richtig begonnen. Es wird alle treffen, keiner wird verschont bleiben. Italien hat ein großes Kulturerbe, das finanziert und erhalten werden muss. Wenn eine Wirtschaftskrise kommt, sind dort die Schwierigkeiten größer als in anderen Ländern.
Lissner: The climate is all over the world more difficult. Heuer will this get worse. The crisis has not yet really begun. It will all take, no one will be spared. Italy has a great heritage, financed and must be preserved. When a crisis comes, there are greater difficulties than in other countries.

Was kann man dagegen tun?
What can you do?
Lissner: Wir müssen höchste musikalische Ansprüche stellen. Das ist das Wichtigste. Ich sehe Kultur als öffentliche Dienstleistung. Wenn der Deckungsgrad von Kulturinstitutionen immer höher wird und man immer mehr auf private Mittel, Sponsoren und die Einnahmen aus dem Kartenverkauf angewiesen ist, weil die staatlichen Subventionen schrumpfen, dann wird dasselbe passieren wie bei dieser jetzigen Wirtschaftskrise. Da sieht man doch, dass die Menschen unfähig sind, das Finanzsystem zu regeln. Bei der Kultur droht eine ähnliche Katastrophe. Die Frage ist, müssen wir es überhaupt so weit kommen lassen? Das würde dazu führen, dass es nur noch standardisierte Programme gibt: „Traviata“, „Nabucco“, „Carmen“. Es reicht auch nicht, immer teurere Karten aufzulegen, denn dann brechen Publikumsschichten weg, nur noch die Reichsten bleiben übrig. Das alte Europa ist nicht wie die USA! In Europa ist die Kultur der soziale Zusammenhalt der Gesellschaft und mindestens ebenso wichtig wie die Forschung oder die Erziehung. Man kann über die Streiks in Italien lächeln, aber sie erinnern die Öffentlichkeit daran, dass es etwas kostet, ein hohes Niveau zu halten. Es gibt eine große Achtung vor der Vergangenheit, das hat auch etwas Positives.
Lissner: We have the highest musical demands. It is most important. I see culture as a public service. If the coverage of cultural institutions is always higher, and we are always more on private funds, sponsors and revenue from the box, because the state subsidies are shrinking, then the same will happen as in this current economic crisis. As you can see yet that people are unable to regulate the financial system. When culture is threatened by a similar disaster. The question is, we need it at all so far approved? That would mean that it is only standardized programs are: “Traviata,” “Nabucco,” “Carmen”. It is not always more expensive cards hang up, because then breaking audiences away, only the richest remain left. The old Europe is not like the USA! In Europe, the culture of the social cohesion of society and are at least as important as the research or education. It is about the strikes in Italy are smiling, but they remind the public that it costs something, a high level. There is a great respect for the past, this has also something positive.

Viele Leute mögen noch immer alte Inszenierungen lieber als moderne Oper.
Many people may still prefer old productions as a modern opera.
Lissner: Es geht nicht darum, modern gegen klassisch auszuspielen. Man muss den Dirigenten und den Regisseur finden, und die müssen sich Gedanken machen, was der geeignete Ansatz für das jeweilige Werk ist. Schwarz-Weiß-Malerei erscheint mir lächerlich. Man kann einen Ferrari nicht so fahren wie einen Kleinwagen. Es gibt 80 bis 100 große Werke des Opernrepertoires und ebenso viele Ansätze und Konzepte, den Text der Musik und den Text des Librettos zu lesen. Die Scala hat eine besondere Situation mit ihrem riesigen Repertoire, Verdi, Donizetti, Bellini haben für die Scala komponiert. Das muss gepflegt werden. Da gibt es Stücke, die eine aktuellere, moderne Dramaturgie vertragen, während bei anderen eine moderne Sicht für die Wahrnehmung des Publikums nichts bringt.
Lissner: It is not a modern classic against each other. You have to give the conductor and the director, and the need to start thinking about what the appropriate approach for each work. Black-and-white painting seems to me ridiculous. One can not as a Ferrari drive like a car. There are 80 to 100 great works of the operatic repertoire and as many approaches and concepts, the text of the music and the text of the libretto to read. The Scala has a special situation with its vast repertoire, Verdi, Donizetti, Bellini has composed for La Scala. That must be maintained. There are pieces that a newer, modern dramaturgy tolerated, whereas in others a modern vision for the perception of the audience not to be recommended.

Ihr Vertrag an der Scala läuft bis 2013. Was machen Sie nachher? Sie wurden und werden für viele Posten gehandelt. Interessiert Sie z. B. die Intendanz der Salzburger Festspiele?
Lissner: Darüber habe ich mir noch nie Gedanken gemacht. Es gibt unglaublich viele Angebote für die Zeit nach 2013.
Your contract expires at the Scala in 2013. What do you do afterwards? They were and are used for many items traded. If you are interested in, for example, the management of the Salzburg Festival?
Lissner: What I have never thought. There are incredibly many offers for the period after 2013.

Aus Italien oder Frankreich?
Lissner: Weder Italien noch Frankreich.
From Italy or France?
Lissner: neither Italy nor France.

Weiter weg?
Lissner: Vielleicht.
Next move?
Lissner: Maybe.

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