music theatre in flanders - Muziekcentrum Vlaanderen

scale productions often lack true international ambition and content
themselves with local acclaim. In Flanders, however, this
international dimension is present among both major and minor
organizations.
At a recent Opera Europe Conference on music theatre and
opera held in Oslo, the question was raised what our approach
towards all these new operas could, or should, be. The Opera of
Barcelona’s director explained that he had proposed Covent Garden
to take over the new opera creation he had commissioned from
a Catalan composer. But there was no interest, because Covent
Garden already had a contemporary opera by a British composer,
and because the production would be hard to sell to the London
public. The Catalan composer’s lack of added value as well as the
opera’s regional subject matter and composition aesthetics made
the production unappealing for London audiences.
In an attempt to bypass the differences in regional tastes,
interesting but difficult forms of international co-operation have
been set up, bringing artists from different countries together. An
artist’s participation in a production is beneficial to open a natural
market in his country of origin, but far too often, there is too much
compromise. This kind of co-operation can only prove successful
if it is based on artistic necessity. If money is the only reason, the
result is usually below standard.
Some production houses or companies respond to the demands
of the international market by setting up artificial projects
or by copying success formulas. Festivals play a major part as
launch sites, but for production companies, it remains essential
that the artist is in charge and that he is allowed to do his job
without compromise.
FOr FurTher COnSIderATIOn
• In contemporary music theatre, the international market is a
necessity, either to get projects financed, or to increase the
number of venues. Certain international arts centres and
festivals are becoming increasingly influential in determining
which names will make it, and which will not. For young
makers, it has become extremely difficult to attract attention
if they are not backed up by a strong producer or publishing
company, especially as the major festivals increasingly opt
for well-established names to attract huge audiences. The
question is what we can do about it. How can we prevent the
leading festivals from merely exchanging each other’s prestige
projects? How can we safeguard the influx of fresh blood?
• That a lot of new operas and music theatre works are made is
a good thing, but among most producers and makers, there is
a lack of quality awareness. International scope is to overrule
regional concerns. A lot of works should, perhaps, never see
the light of day or be elaborated. How can producers be made
to adopt a more critical attitude towards their own artists and
to work on an international level?
• A government can play a stimulating role to make the music
theatre landscape prosper. Certain conditions for subsidizing
can raise bottom-up potential and make it easier for smaller
organizations to professionalize. Should the government,
therefore, adopt an even more active policy, or should the talent
that has been made to shoot up with the help of subsidies,
now prove itself instead?
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