Detailed programme



Detailed programme
In detail
Thursday 3 March 2011
English National Opera
at the London Coliseum
Sky Bar
Welcome of Young Delegates
Accueil des jeunes délégués
Sky Bar
Introduction to English National Opera
Présentation du English National Opera
John Berry, Artistic Director
Coliseum Foyer
Sky Bar
Why opera today? Why culture?
Bernard Foccroulle, Directeur général
Festival d’Aix-en-Provence
Valery Gergiev, General and Musical
Director Mariinsky Theatre
St Petersburg
Gerard Mortier, Artistic Director Teatro
Real Madrid
Moderated by Chris Torch, Senior
Associate Intercult Stockholm
Sky Bar
Orientation of Young Delegates and
assigning roles
Orientation des jeunes délégués et
attribution des rôles
Paul Reeve, Director of
Education ROH, and
Roland Taylor,
Director of
is made with
New Media &
public money.
ENO Baylis
Germany is the most
Clore room
Fedora General Assembly
Agenda distributed to members
Assemblée générale
de Fedora
a contemporary
Ordre du jour
language for opera, one
distribué aux
that has the potential to say
something about the world
we live in and not simply
pander to providing an
entertainment, has its
– John Berry
democratic country in
Europe, because it is
confronted by theatre.
– Gerard Mortier
Opening debate about the place of
opera and culture in today’s society
Débat d’ouverture sur la place de
l’opéra et de la culture dans la
société d’aujourd’hui
me, people
don’t want to be
given what they want.
They want to find
worlds they didn’t
know could exist.
– Thomas Adès
Royal Opera House Education Le service éducatif du Royal
Opera House à Thurrock
in Thurrock
The Royal Opera House Education team in Thurrock are delighted to
be working on the brand new, state-of-the-art, High House
Production Park in Purfleet. The Production Park also houses the
new Royal Opera House Bob and Tamar Manoukian Production
Workshop; a world class production facility where the sets and
scenery for the Covent Garden stage are made.
L’équipe du service Royal Opera House Education à Thurrock est
enchantée de pouvoir travailler dans le tout nouveau parc de
production ultramoderne de Purfleet, le “High House Production
Park”. Il abrite aussi les nouveaux ateliers de production “Bob and
Tamar Manoukian”, un complexe de classe mondiale où sont
fabriqués les décors pour la scène de Covent Garden.
ROH Education in Thurrock delivers customised programmes within
schools, colleges and higher-education institutions to inspire and
engage young people to develop their potential. We produce sitespecific performances that bring together artists and local
communities, allowing groups and individuals to acquire lifeenhancing skills and explore the arts-rich activities at the heart of
the Royal Opera House. We also provide professional development
programmes for people of all ages and abilities to develop skills for
the future. All ROH Education programmes explore the onstage and
backstage worlds of the performing arts, at both the High House
Production Park and Covent Garden.
Le service pédagogique propose des programmes spécifiques dans
les écoles, les universités et autres établissements d’enseignement
supérieur, afin d’inspirer et d’inciter les jeunes à développer leur
potentiel. Nous produisons des représentations sur site faisant
collaborer artistes et communautés locales, et permettant aux
groupes et aux individus de s’épanouir et d’explorer la richesse des
activités artistiques au cœur du Royal Opera House. Nous proposons
également des programmes de développement professionnel pour
les personnes de tous âges et toutes capacités. Tous les
programmes de ROH Education explorent le monde de la scène et de
ses coulisses, au High House Production Park comme à Covent
To find out more about Royal Opera House Education in Thurrock
please visit:
Pour en savoir plus sur le service éducatif du Royal Opera House à
Thurrock, visitez
Numéro spécial 33 – PRINTEMPS 2011
© Stephen Cummiskey
In detail
Lucrezia Borgia
Royal Opera House
at Thurrock Park
whole period of my
making films – about twentyfive years – has been a learning
curve in an attempt to synthesize all
these things that I have apprenticed:
music, cinematography, sound, how they
work, and so on…I was already engaging
with the very thing opera offers…The film
allows me the opportunity to show the
tragedy of having the child taken away,
which enforces the idea of why
Lucrezia so passionately wants
to find him. – Mike Figgis
Coliseum Auditorium
Lucrezia Borgia
with director Mike Figgis and
conductor Paul Daniel
Writer, director,
photographer and composer,
with roots in experimental
theatre and music, Mike
Figgis is best known for his
award-winning feature films.
In his début opera production,
he recreates a dark Italian
renaissance world through
his stylised staging
incorporating four short film
sequences which tell the
back story of Lucrezia and the
notorious Borgia family
Ecrivain, metteur en scène,
photographe et compositeur,
issu du monde du théâtre
expérimental et de la
musique, Mike Figgis est
surtout connu pour ses films
plusieurs fois récompensés.
Pour ses débuts à l’opéra, il
recrée sur scène une
renaissance italienne sombre
et stylisée, incorporant
quatre courtes séquences
filmées qui racontent
l’histoire de Lucrèce et de la
célèbre famille Borgia
Special Edition SPRING 2011 – Issue n°33
Tour of Thurrock
Production Park
Departure at 12.00 from
London Fenchurch Street
Départ à 12h de la gare de
Fenchurch Street
The Barn
RESEO Annual General
Assemblée générale de
End of sessions
Train back to London
Fenchurch Street at 17.49
(arrival 18.18)
Retour à Fenchurch Street
par le train de 17h49
(arrivée 18h18)
Tour of Thurrock
Production Park
with short presentation by
David Hare, from Nicholas
Hare Architects
Meeting point in front of
ROH at 14.00 (return by
Rendez-vous devant le
Royal Opera House à 14h
(retour prévu pour 18h)
Lucrezia Borgia
19.30 at English National
By Gaetano Donizetti,
conducted by Paul Daniel
and directed by Mike Figgis,
with Claire Rutter, Michael
Fabiano, Elizabeth
DeShong, Alastair Miles
19.30 at National Theatre
A new play by Nick Dear
based on the novel by Mary
Shelley and directed by
Danny Boyle
Opera Insight
19.30 at Royal Opera
Adult education
In detail
Royal Opera House
From 10.30
Linbury foyer
Linbury auditorium
Integration - Playing for the
same team
Birgitte Holt-Nielsen,
Producer of Children’s Opera
Danish National Opera Århus
Alice King-Farlow, Director
Discover Programme
National Theatre London
Truze Lodder, Managing
Director Netherlands Opera
Tom Remlov, General
Director Norwegian Opera
and Ballet Oslo
Led by Kevin Rainey, Royal
Opera Education Manager
and Chair of RESEO Steering
Linbury auditorium
Royal Opera opening
Antonio Pappano, Music
Director, with Elaine
Padmore, Director of Opera
between the subject
matter and the institution
it’s being presented in is
very appealing. I like the
idea of profanity in the
high temple of art. –
Richard Jones
Linbury auditorium
Politics or Poetry: Sense and
Dmitri Cherniakov, Stefan
Herheim and Peter
Moderated by Christopher
Cook, convener of ENO’s Join
the Conversation: Live events
Linbury auditorium
Presentation about Anna
Director Richard Jones with
composer Mark-Anthony
Turnage, librettist Richard
Thomas, and designers
Miriam Buether and Nicky
People ask me if
she’s worthy. What’s
‘worthy’? And who gets to
decide? Everything is a
fitting subject for an opera.
Every life lived contains
glory and tragedy. –
Richard Thomas
An opportunity to learn more
about the première
production of a work by two of
the brightest talents in
modern opera, a romp
through the Playboy model
Anna-Nicole Smith’s
ultimately tragic story in one
of the most startling new
Three of today’s outstanding
operas ever to grace the main
stage directors debate the
at Covent Garden
purpose of opera and express
Une occasion de découvrir la
their own philosophies and
Linbury foyer
toute première production de
guiding preoccupations
Break - Pause
l’œuvre de deux des plus
Trois grands metteurs en
brillants talents de l’opéra
scène d’aujourd’hui débatent
moderne: l’histoire d’Annade la finalité de l’opéra et font
Nicole Smith, mannequin
part de leur propre
history forms an
pour Playboy vouée à un
Cross-disciplinary workshops
important framework for my
tragique destin, dans l’une
on how best to achieve
directorial concept of Parsifal, but
des créations les plus
guident leur travail
common goals, designed to
I never impose anything on the
étincelantes à avoir
bring together General and
performance that I don’t have the
jamais honoré la scène
Artistic Directors with
support for in the music… Salvation can
de Covent Garden
Departure for
Education, Marketing and
only come by, with and in ourselves. I
Planning Managers in open
believe this is what this theatre gives us
Départ de la visite
discussion groups
a chance to feel, understand and take
of the day’s sessions
Comment atteindre au mieux
responsibility for. From this
Fin des sessions de la
nos objectifs communs?
perspective, the theatre is my
Ateliers transdisciplinaires
temple. – Stefan Herheim
destinés à réunir les
purpose of a
directeurs généraux et
theatrical performance
artistiques avec les
primarily consists in
responsables de services
having a dialogue with the
éducatifs, marketing et
audience about essential
planning dans une
themes in society as well as
discussion ouverte en petits
in the lives of the
individual. - Peter
stage world of our
production of Onegin is
hermetic. It does not
acknowledge any external
environment, any historic details,
any delineation of time or the
existence of some wider life outside.
Our story is locked inside a single
room, allowing only nature, and
not society to intrude. –
Dmitri Cherniakov
Anna Nicole
Numéro spécial 33 – PRINTEMPS 2011
© The Royal Opera / Bill Cooper
Friday 4 March 2011
In detail
© Bill Rafferty
Saturday 5 March 2011
National Theatre
Technical & Production
Tour of National Theatre
(meet at NT side
entrance, front of house)
Visite du National
Theatre (rendez-vous au
front of house)
Technical & Production
Joint meeting with
Costumes forum
followed by lunch
Réunion avec le forum
Costumes suivie d’un
rep should reflect the
Olivier auditorium
world we are part of, and it
How to design an opera
should put the society in which we
live in the context of the past and, as
Jeremy Dixon,
far as we can, of the wider world… The
architect of the Royal
aim is not to go out and find a diverse
Opera House
audience but for the repertoire to reflect a
development and of
greater diversity in our culture. That in
Kings Place
turn attracts a more diverse audience. It
Nils-Peter Fischer,
is our job to reach people who don’t
Zaha Hadid
know what we are doing but who
Architects, designers
would be interested in it if they
of the new Ghuangzhou
did. – Nicholas Hytner
Opera House in China
Theresa Hoepker, General
Manager of the Lucerne
Willem Jan Neutelings,
National Theatre
Neutelings Riedijk Architects,
In recent years, great opera
houses have been renovated
and iconic new opera houses
have been created by some of
today’s leading architects.
Olivier auditorium
What are their aims, and how
Welcome address
may they inform the future
Nicholas Hytner, Director of
shape of opera houses?
the National Theatre
Ces dernières années, de
grandes maisons d’opéra ont
An introduction to the UK’s
été rénovées et de nouvelles
National Theatre: its
17.00 at English
été créées par les plus
National Opera
grands architectes du
its three auditoria; plus a
By Richard Wagner,
moment. Quels sont leurs
preview of its ambitious plans
conducted by Mark
buts, et comment peuvent-ils
to transform its building and
Wigglesworth and
guider la conception des
its relationship with the
directed by Nikolaus
futures maisons d’opéra?
Lehnhoff, with Jane
Présentation du Théâtre
Dutton, Stuart Skelton,
national de GrandeIain Paterson, John
Bretagne: sa philosophie, son
Tomlinson, Tom Fox, and
répertoire et ses trois salles
Andrew Greenan
de spectacle, ainsi que de son
Architecture is
ambitieux projet de
Anna Nicole
essentially a social
transformation du bâtiment
19.30 at Royal Opera
activity… At the same time,
et de sa relation avec le
architects are empowered and
By Mark-Anthony
powerless. We don’t occupy the
Turnage, conducted by
same space as artists… Architecture
Antonio Pappano and
is not a replacement for life. It’s a
Cathedral Windows
directed by Richard
container in which life can be
Break – Pause
Jones, with Eva-Maria
experienced in a more
considered way. – David
Rehearsal room 3
Chipperfield, 2011
European Opera-directing
22.00 PostPrize
performance party in
Finalists’ production
Royal Opera House
workshops 1 (10.00) and 2
Amphitheatre Bar
(11.30) - see page 25
at the invitation of Boosey
Ateliers de production des
& Hawkes, The Royal
finalistes 1 (10h) et 2 (11h30) Opera and Opera Europa
voir page 25
Special Edition SPRING 2011 – Issue n°33
In detail
The Deck
More than seeing a show:
the opera house as meeting
Marcus Davey, Chief
Executive Roundhouse
Nicholas Kenyon, Managing
Director Barbican Centre
Jorge Prendas, Head of
Education Casa da Musica
Moderated by Loretta Tomasi,
Chief Executive ENO
The Deck
The Conversation Manager
Polle de Maagt, InSites
How can we open up our
cultural buildings so that they
become welcoming to new
Comment ouvrir nos
bâtiments culturels et les
rendre plus accueillants pour
de nouveaux publics?
theatre trips, I don’t
remember what was on
stage, but I remember
the curtains and the
foyer and the icecreams. – Katie
An original presentation
about convincing traditional
managers to reframe some of
their thoughts about
marketing and breaking
some existing conventions
Une présentation originale
pour convaincre les
managers de remettre en
question leur idée du
marketing et certaines
conventions établies
Rehearsal Room 1
Architect Breakout
Jeremy Dixon and Theresa
Hoepker with Jonathan Dove
(composer), Paul Jozefowski
(Project Manager NT Future)
and Tom Remlov (Oslo)
Cottesloe Foyer
Architect Breakout
Nils-Peter Fischer and
Willem Jan Neutelings with
Simon Harper (Project
Director NT Future), David
Staples (Theatre Projects),
Keith Warner (Copenhagen)
is no theory in
Lyttelton Terrace
architecture. Styles are
only for decoration. They
Lunch - Déjeuner
are superficial, ornamental
and useless. We must abolish
all styles, because they thwart
progress in architecture. –
Gu Qi Yi, The Chinese
Architect, 1936
the past years, the
internet has evolved from a
static to a social platform. This
evolution has an impact on the way
consumers communicate and take
purchasing decisions. Unfortunately, most
advertisers have failed to evolve along.
Traditional advertising no longer works.
Advertisers need to change their day-to-day
working methods. The gap between the
contemporary consumer and the traditional
advertiser is growing on a daily basis. This era
is not the end of the advertising market,
though it is the end of the advertiser! –
The Conversation Manager
what people want is
great experiences,
moments that take them out
of themselves and offer a new
perspective on life, from the arts
and beyond, to great food or a
party…Institutions second,
audiences first: in the end we
don’t matter; they do. –
Nicholas Kenyon
Juan, film by Kasper Holten
17.00 - Rehearsal room 1
Reservation required
Juan is an attempt to make an opera movie like never before. A classic
opera – Mozart’s Don Giovanni – but told afresh on the cinema’s terms.
The story is told in a modern city, a story about a restless artist trying to
escape himself through his seductions.
The international cast is led by Christopher Maltman, Mikhail
Petrenko, Elizabeth Futral, Maria Bengtsson and Katija Dragojevic.
They all sing everything live on all kinds of locations – while driving a
car chase, getting drowned by rain in the middle of the night or while
running around deserted railway stations.
The movie is rough, entertaining and hopefully a new way to bring the
strength of opera – the extreme physical expression of singing – close
to the audience. It is sung in modern English that will ban it from
American television, and parts of the music are cut. But we hope that
you will feel that we honour Mozart by showing him such disrespect.
Kasper Holten
Juan est une tentative de film-opéra comme on n’en a jamais vu. Un
opéra classique (le Don Giovanni de Mozart), mais raconté de façon
inédite dans le langage du cinéma. L’histoire se passe dans une cité
moderne, celle d’un artiste tourmenté tentant d’échapper à lui-même
grâce à ses conquêtes.
La distribution internationale est emmenée par Christopher Maltman,
Mikhail Petrenko, Elizabeth Futral, Maria Bengtsson et Katija
Dragojevic. Tout est chanté en live et dans toutes sortes de situations:
une course-poursuite automobile, sous des pluies torrentielles au
milieu de la nuit ou encore au pas de course à travers des gares
Le film est brut, amusant et, nous l’espérons, il sera une nouvelle
façon d’amener la force de l’opéra – l’expression physique extrême du
chant – au plus près du public. Il est chanté dans un anglais moderne
qui le bannira de la télévision américaine et la musique est en partie
coupée. Nous espérons toutefois que vous trouverez que nous
honorons Mozart en lui montrant un tel manque de respect.
Kasper Holten
Numéro spécial 33 – PRINTEMPS 2011
In detail
© The Royal Opera
when programming a
season? How extensive is the
operatic repertory?
Comment équilibrer les
facteurs artistiques et
commerciaux dans la
programmation d’une
saison? Quelle est la taille du
répertoire lyrique?
The Deck
Site-specific Opera
Inne Goris, artist LOD
Matt Lane, Manager ROH
Charlotte Nessi, Directrice
Ensemble Justiniana
Jean Nicholson, General
Manager Birmingham Opera
Moderated by Guy Coolen,
Artistic Director Operadagen
Can opera be given new life
and reach new audiences
outside traditional theatres?
Specific examples presented
in this session will lead to an
open debate in the linked
session which follows at 16.00
Peut-on donner une nouvelle
vie à l’opéra et toucher de
nouveaux publics à l’extérieur
des théâtres traditionnels?
Les exemples particuliers
présentés dans cette session
serviront de base au débat
participatif de 16h
Rehearsal Room 1
Programming: ambitions
and imperatives
Peter de Caluwe, General
Director La Monnaie/De Munt
Mike Gibb, Operabase
Peter Spuhler, Intendant
Theater Heidelberg
Moderated by David Pickard,
General Director
How do you balance artistic
and commercial concerns
Rehearsal room 4
Programming in dialogue
with your audience
Serge Dorny, General
Director Opéra national de
Wasfi Kani, Chief Executive
Grange Park Opera
Roland Taylor, Director of
Participation and New Media
Moderated by Bruce
Thibodeau, President Arts
Consulting Group
What may be learned from
conversations with the
audience? How should it
influence programming?
Que peut-on apprendre de la
conversation avec le public?
Comment doit-elle influencer
la programmation?
Cottesloe Foyer
Let us dream: creating a
brief for the perfect venue
Moderated by Steve Green,
Technical Director Scottish
After the morning’s sessions
with architects, an opportunity
to explore radical ideas for the
opera house of the future; and
for architects to meet with the
young artists who will be using
their buildings: college
performers, actors,
composers, designers,
A la suite des sessions
d’architecture de la matinée,
ce débat permettra
d’envisager les idées les plus
folles pour l’opéra du futur;
pour les architectes, il sera
l’occasion de rencontrer les
jeunes artistes qui utiliseront
leurs bâtiments: étudiants en
comédie, composition, design
et mise en scène
Rehearsal room 3
European Opera-directing
Finalists’ production
workshops 3 (14.45) and 4
(16.15) - see page 25
Ateliers de production des
finalistes 3 (14h45) et 4
(16h15) - voir page 25
The Deck
Discussion on site-specific
Led by Rachel Clare, Director,
Crying Out Loud
After the session at 14.45, an
opportunity to ask questions
and express opinions
Poursuite de la session de
14h45 pour poser vos questions
et exprimer votre avis
17.15 – ROH Linbury Studio Theatre
Reservation required
Exposure is a new experimental performance series based in the
Linbury Studio Theatre at the Royal Opera House. Transforming the
Linbury into a transverse cabaret format, complete with its own bar and
café tables, Exposure aims to provide a platform for excerpts of new
opera in a relaxed, informal setting. Performances include scenes and
fragments from the full spectrum of opera development work
undertaken by ROH2, from conventional opera forms through musictheatre to hi-tech, film and video technologies, and range from extracts
of fully-commissioned work in progress to experimental scenes from
our artist development courses. Exposure seeks to both expose
audiences to exciting and varied new work, and expose the new work
itself to the constructive and creative responses of real audiences.
John Lloyd-Davies
Head of Opera Development
Special Edition SPRING 2011 – Issue n°33
Exposure est une nouvelle série de représentations jouées au Linbury
Studio Theatre du Royal Opera House. Transformant le Linbury en
cabaret, avec son propre bar et tables de café, Exposure vise à offrir
une plateforme de présentation pour des opéras en cours de création
dans un cadre détendu et informel. Les scènes et fragments présentés
reprennent tout le panel de travail de création d’opéra entrepris par
ROH2, depuis les formes conventionnelles et le théâtre musical jusqu’à
la haute technologie, le film et la vidéo; ils vont d’extraits de
commandes en cours de création à des scènes expérimentales
proposées par les artistes de notre cursus de développement.
Exposure veut à la fois exposer le public à de nouvelles œuvres variées
et passionnantes, et ces œuvres elles-mêmes aux réactions
constructives et créatives d’un public en chair et en os.
John Lloyd-Davies
Head of Opera Development
In detail
Rehearsal Room 1
Programming workshop
Led by Marc Scorca,
President CEO OPERA
A practical exercise inviting
all departments of opera
companies to play General
Director and understand each
other’s imperatives and
Exercice pratique proposant
de jouer au directeur général
et comprendre les impératifs
et priorités de tous les autres
services de la compagnie
Rehearsal room 4
Your audience, your best
Led by Marc Chahin, Head of
Public Relations &
Netherlands Opera
An open debate arising from
the presentation on the
Conversation Manager and
the previous sessions about
programming and audiences
Débat participatif faisant
suite à la présentation “the
Conversation Manager” et
aux sessions sur la
programmation et les publics
Rehearsal room 1
Film by Kasper Holten, with
Christopher Maltman,
Mikhail Petrenko, Elizabeth
Futral and Maria Bengtsson
Cottesloe Foyer
Technical & Production
Driving change: culture &
Mener le changement:
culture et management
Led by Jan Hauge, Technical
Director Norwegian Opera
End of the day’s sessions at NT
Fin des sessions de la
Royal Opera
ROH Linbury
A short performance of
new work presented in
an unconventional and
informal setting
Représentation brève
d’une nouvelle œuvre
dans un cadre alternatif
et informel
With works by Laura
Bowler, Oran Eldor,
Helen Chadwick, Elfyn
Jones, Marc Teitler,
Errollyn Wallen, Charlie
Piper, Anne Dudley
(names correct at time of
going to print)
Followed by debate led by
John Lloyd-Davies
(ROH2) with Luc Joosten
(Opera XXI Ghent), Ana
(Operomanija Vilnius)
View from the East Room at Tate Modern
20.00 Tate Modern
Walking dinner in the
East Room on the 7th
level overlooking
London, and tour of the
Delegates will be split up
in two groups so that each
may be comfortably
accommodated in the
East Room:
Group 1: dinner at 20.00
followed by guided tour at
Group 2: guided tour at
20.00 followed by dinner at
Please respect the
indication on your ticket
Buffet dînatoire avec vue
sur Londres depuis la
“East Room” du 7ème
étage et visite de la
Les participants seront
séparés en deux groupes
afin que chacun puisse
profiter confortablement
de la soirée:
Groupe 1: dîner à 20h suivi
de la visite guidée à 21h
Groupe 2: visite guidée à
20h suivie du dîner à 21h
Veuillez respecter les
horaires indiqués sur
votre ticket.
Tate Modern
20.00 to 22.00 - Reception and tour of collection
Reservation required
Facing St Paul’s Cathedral, the famous Tate Modern museum is the
British reference for international modern art. Opened in 2000 in a
converted power station on the south bank of the River Thames, it
owes its name to the famous 19th century sugar merchant,
philanthropist and collector Henry Tate, and the expanded collection
is also housed in Tate Britain, Tate Liverpool and Tate St. Ives. The
Swiss architecture firm Herzog & De Meuron ingeniously renewed
the building, notably by working with the artist Michael Craig-Martin
who surrounded the splendid 99-metre chimney with a coloured light
known as ‘the Swiss Light’. Doubled with the light diffused through
the added two-storey glass penthouse, ‘the Lightbeam’, Tate Modern
continues to radiate on the city.
S’élevant face à la cathédrale St Paul, le célèbre musée Tate Modern
est un lieu de référence en termes d’art moderne international.
Inauguré en 2000 dans une ancienne centrale électrique sur les rives
de la Tamise, le musée doit son nom au célèbre Henry Tate,
marchand de sucre, philanthrope et collectionneur du 19ème siècle.
La collection étendue se retrouve aussi au Tate Britain, Tate
Liverpool et Tate St. Ives. Le cabinet d’architecture suisse Herzog &
De Meuron a su revitaliser le bâtiment, en faisant notamment appel
à l’artiste Michael Craig-Martin pour entourer la superbe cheminée
de 99 mètres de haut d’une lumière colorée, “the Swiss Light”. Avec
la lumière diffusée de la galerie vitrée ajoutée au toit originel, “the
Lightbeam”, Tate Modern n’a pas fini de rayonner sur la ville.
The permanent collection may be visited free on the 3rd and 5th
levels of the building. So may the extraordinary installation
Sunflower seeds by the Chinese artist Ai Weiwei in the vast Turbine
Hall, either viewed from above from the bridge or at close range in
the east end of level 1. There is an additional temporary exhibition of
sculptures, found objects and photos by the Mexican Gabriel Orozko.
La collection permanente aux 3ème et 5ème étages est en visite
libre, ainsi que l’extraordinaire installation Sunflower seeds de
l’artiste chinois Ai Weiwei dans le vaste Turbine Hall, à voir soit d’audessus depuis la passerelle ou de plus près dans l’aile est du niveau 1.
Une exposition temporaire de sculptures, objets trouvés et photos du
Mexicain Gabriel Orozko est également visible.
Numéro spécial 33 – PRINTEMPS 2011
In detail
Sunday 6 March 2011
new audiences for
the future isn’t about
starry names and clever
branding. It must be about a
sign on the door that says
everyone is welcome –
audiences and artists alike –
and being clear about what
you stand for. – John
Royal Opera House
Linbury auditorium
How do we convey the
message about what we do?
Caroline Bailey, Director of
Marketing ROH
John Berry, Artistic Director
Alistair Spalding, Artistic
Director and CEO Sadler’s
Daphné Tepper, Policy
Co-ordinator Culture Action
Moderated by David Lan,
Artistic Director The Young
Contrasted presentations
about the central concern of
reaching out to audiences for
the arts today and making the
case for culture, followed by
open debate
Présentations contrastées
sur la question centrale de la
facilitation de l’accès à la
culture aujourd’hui et la
défense de la culture; suivi
d’un débat ouvert
Young Delegates
role of the artistic
director and the
programmer in the future
will involve a new approach to
the constant mission of
organising, selecting and
mediating the very best quality
to audiences.
– Nicholas Kenyon
Hamlyn Hall
Break - Pause
Linbury auditorium
Conclusions and action
with rapporteurs Bob
Brandsen (Amsterdam),
Henry Little (London), Joan
Matabosch (Barcelona), Kevin
Rainey (London), Marc Scorca
(New York)
At the previous European Opera Forum in Barcelona, a group of
enthusiastic young delegates determined to be more involved in
planning the next Forum. Members of the group have gathered
again at Opera Europa’s Budapest and Rotterdam conferences,
leading to the formation of a Young Delegates Think Tank. They
come from different parts of Europe (and beyond), and their
diverse backgrounds - arts management, singing and composing,
directing, designing; but also law, communication consultancy, or
simply still students – have nonetheless created an homogeneous
group of tomorrow’s opera professionals and audiences. Their
concerns and ideas were crystallised during an intensive weekend
last October at Madrid’s Teatro Real to form the basis of The
Opera Experience’s programme. They are involved in various
sessions in London and during the concluding session will report
on what they have experienced.
Pendant le Forum européen de l’Opéra à Barcelone, un groupe de
jeunes délégués enthousiastes a résolu d’être impliqué
davantage dans la programmation du Forum suivant. Une partie
du groupe s’est retrouvée aux conférences de Budapest et
Rotterdam, amenant à la formation d’un “Think Tank”. Ils sont
originaires de différents pays européens (voire de plus loin), et
leurs formations diverses – gestion culturelle, chant et
composition, mise en scène, design; mais aussi droit,
communication, ou simplement encore étudiants – ont
néanmoins créé un groupe homogène de spectateurs et
professionnels de l’opéra de demain. Leurs préoccupations et
idées se sont cristallisées au cours d’un week-end intensif au
Teatro Real de Madrid en octobre dernier pour finalement former
la base du programme de ce Forum. Ils sont impliqués dans
plusieurs sessions à Londres et feront part de ce qu’ils ont vu et
appris ce week-end durant la session de conclusion.
With the support of Fedora
Including summaries of
rapporteurs and Young
Delegates; and the
announcement of the winners
of the European Operadirecting Prize 2011
Avec les synthèses des
rapporteurs et des jeunes
délégués, ainsi que l’annonce
des lauréats du Prix
européen de mise en scène
d’opéra 2011
are deeply
committed to the
British arts sector...the
arts play a vital role in our
communities, helping to bind
people together and create
real social value.
– George Osborne, UK
Finance Minister
End of the conference
Fin de la conférence
13.30 -15.00
Trust rooms
Co-production marketplace
Chaired by Elaine Padmore
Special Edition SPRING 2011 – Issue n°33
Opera Europa’s Young Delegates Think Tank in Madrid last October