Open letter: pictures and more

As I was unable to attach graphic images to my recent post directed at officials at the CEI, I thought it necessary to display some appropriate photos as well as add a few thoughts about the situation at the New York City Opera.

First, in Detroit:

Max M. Fisher Music Center, Detroit's $60M boondoggle

Now to Philadelphia:

Former home--the Academy of Music

Moved to:

Verizon Hall at the Kimmel Center

(Interestingly enough, a check of the Philadelphia Orchestra's events on the Kimmel Center website indicate that "there are no events scheduled at this time.")

Now on to New York:

David H. Koch (Formerly NY State) Theater, Lincoln Center

NYCO's new home:









That's right.  It's a big empty.  The New York City Opera no longer has a permanent venue, rather, it has chosen to present its offerings at various locations around the city.  To me, this spells certain disaster for patrons of the NYCO will now have to search to find out where the company is playing any given week (if at all) and whether or not it is at all convenient to get there by car or public transportation.

Such is the sorry fate of this once great and truly "American" opera company, founded during the tenure of Mayor Fiorello LaGuardia, who dubbed it "the people's opera."  Since its establishment in 1943, the NYCO's aim was to make opera more accessible to the general public (who might not own the necessary fur stoles to gain admission to the Met), provide for more innovative repertory and to offer opportunities for American singers and composers. 

It was the NYCO that originally featured:

• Todd Duncan, the first African-American to appear with a major opera company:  Tonio in Pagliacci (1945).
• Sherrill Milnes
• Placido Domingo
• Jose Carreras
• Renee Fleming
• Samuel Ramey
• Beverly Sills, who--following her retirement from singing in 1979--assumed the role of General Director.  Inheriting a three-million dollar deficit, she demonstrated that her gifts were not only limited to the stage.  During her nine year tenure, the company's budget rose from $9 million to $26 million (!) all with a budget surplus of three million dollars.

A leader in presentation of new opera, the NYCO offered the world premiere of Copland's The Tender Land and the first professional production of Carlisle Floyd's Susannah, as well as American premieres of works by Ginastera, Poulenc, and many others.

Since the departure of general director Paul Kellogg in 2007, all has not gone as planned for the NYCO.  Its courtship of renowned artistic director Gerard Mortier ended before its consummation in 2008, leaving the company in an artistic and managerial vacuum.  At the urgings of the company, the NY State Theater (now the David H. Koch Theater) at Lincoln Center underwent a major renovations in hopes of improving its acoustical deficiencies. The 2008-09 season was a financial disaster, as the company presented primarily concert versions of operas in a variety of venues; the result was an $11 million deficit.  And now, less that two years after undergoing a major overhaul, the Koch Theater will be without an opera company. 

The fault of the musicians?  Beverly Sills left a budget surplus as did Paul Kellogg.  Any blame for the company's current financial woes must end at the feet of the company's Board of Director's as well as subsequent Director George Steele who most recently ran a $5 million deficit on a budget of only $22 million. 

Oh yeah and one more thing.  What does the NYCO pay in rent to the David H. Koch Theater?  Nothing.  Case closed.