Detailed programme
Transcription
Detailed programme
In detail LONDON PROGRAMME Thursday 3 March 2011 English National Opera at the London Coliseum 13.00 Sky Bar Welcome of Young Delegates Accueil des jeunes délégués 14.00 Sky Bar Introduction to English National Opera Présentation du English National Opera John Berry, Artistic Director 14.30 15.15 Coliseum Foyer Registration Enregistrement 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, Theatre Director of is made with New Media & public money. Participation ENO Baylis Germany is the most Clore room Fedora General Assembly Agenda distributed to members only Assemblée générale Finding de Fedora a contemporary Ordre du jour language for opera, one distribué aux that has the potential to say membres something about the world exclusivement we live in and not simply pander to providing an entertainment, has its risks. – 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 Like 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 Garden. To find out more about Royal Opera House Education in Thurrock please visit: www.roh.org.uk/thurrock. 12 Pour en savoir plus sur le service éducatif du Royal Opera House à Thurrock, visitez www.roh.org.uk/thurrock. Numéro spécial 33 – PRINTEMPS 2011 © Stephen Cummiskey In detail Lucrezia Borgia Royal Opera House at Thurrock Park The 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 17.30 Coliseum Auditorium Lucrezia Borgia pre-performance conversation 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 RESEO 12.00 Tour of Thurrock Production Park Departure at 12.00 from London Fenchurch Street Station Départ à 12h de la gare de Fenchurch Street 15.00 The Barn RESEO Annual General Meeting Assemblée générale de RESEO 17.30 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) TECHNICAL AND PRODUCTION FORUM 14.00 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 18.00) Rendez-vous devant le Royal Opera House à 14h (retour prévu pour 18h) Evening Lucrezia Borgia 19.30 at English National Opera By Gaetano Donizetti, conducted by Paul Daniel and directed by Mike Figgis, with Claire Rutter, Michael Fabiano, Elizabeth DeShong, Alastair Miles Frankenstein 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 House Adult education programme 13 In detail Royal Opera House From 10.30 Linbury foyer Registration Enregistrement 11.00 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 Amsterdam Tom Remlov, General Director Norwegian Opera and Ballet Oslo Led by Kevin Rainey, Royal Opera Education Manager and Chair of RESEO Steering Committee 14.30 Linbury auditorium Royal Opera opening address Antonio Pappano, Music Director, with Elaine Padmore, Director of Opera The collision 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 15.00 Linbury auditorium Politics or Poetry: Sense and Sensibility Dmitri Cherniakov, Stefan Herheim and Peter Konwitschny Moderated by Christopher Cook, convener of ENO’s Join the Conversation: Live events 16.45 Linbury auditorium Presentation about Anna Nicole Director Richard Jones with composer Mark-Anthony Turnage, librettist Richard Thomas, and designers Miriam Buether and Nicky Gillibrand 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 stage at Covent Garden purpose of opera and express 16.15 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 German Nicole Smith, mannequin part de leur propre history forms an pour Playboy vouée à un philosophie et des Cross-disciplinary workshops important framework for my tragique destin, dans l’une préoccupations qui 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 Linbury Foyer 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 Technical guided tour Planning Managers in open believe this is what this theatre gives us 18.00 Départ de la visite discussion groups a chance to feel, understand and take guidée technique End 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 journée Ateliers transdisciplinaires The 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 groupes individual. - Peter Konwitschny The 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 14 Numéro spécial 33 – PRINTEMPS 2011 © The Royal Opera / Bill Cooper Friday 4 March 2011 In detail © Bill Rafferty Saturday 5 March 2011 Parsifal National Theatre 09.00 Technical & Production forum Tour of National Theatre (meet at NT side entrance, front of house) Visite du National Theatre (rendez-vous au front of house) 11.20 Technical & Production forum Joint meeting with Costumes forum followed by lunch Réunion avec le forum Costumes suivie d’un déjeuner 10.30 The 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 house 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 Festival Willem Jan Neutelings, National Theatre Neutelings Riedijk Architects, Rotterdam 08.30 Registration In recent years, great opera Enregistrement houses have been renovated and iconic new opera houses 09.00 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 Parsifal été rénovées et de nouvelles National Theatre: its 17.00 at English ont été créées par les plus philosophy, its repertoire and 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? public 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 House architects are empowered and public By Mark-Anthony powerless. We don’t occupy the Turnage, conducted by same space as artists… Architecture 10.00 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 Westbroek 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 Evening Special Edition SPRING 2011 – Issue n°33 15 In detail 10.30 12.00 The Deck More than seeing a show: the opera house as meeting place Marcus Davey, Chief Executive Roundhouse Nicholas Kenyon, Managing Director Barbican Centre Jorge Prendas, Head of Education Casa da Musica Porto Moderated by Loretta Tomasi, Chief Executive ENO The Deck The Conversation Manager Polle de Maagt, InSites Consulting How can we open up our cultural buildings so that they become welcoming to new audiences? Comment ouvrir nos bâtiments culturels et les rendre plus accueillants pour de nouveaux publics? From childhood theatre trips, I don’t remember what was on stage, but I remember the curtains and the foyer and the icecreams. – Katie Mitchell 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) There 13.00 is no theory in Lyttelton Terrace architecture. Styles are Café 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 Over 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 Now 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 désaffectées. 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 16 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? Exposure 14.45 The Deck Site-specific Opera Inne Goris, artist LOD Belgium Matt Lane, Manager ROH Thurrock Charlotte Nessi, Directrice Ensemble Justiniana Jean Nicholson, General Manager Birmingham Opera Company Moderated by Guy Coolen, Artistic Director Operadagen Rotterdam 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 Brussels Mike Gibb, Operabase Peter Spuhler, Intendant Theater Heidelberg Moderated by David Pickard, General Director Glyndebourne How do you balance artistic and commercial concerns Rehearsal room 4 Programming in dialogue with your audience Serge Dorny, General Director Opéra national de Lyon Wasfi Kani, Chief Executive Grange Park Opera Roland Taylor, Director of Participation and New Media ENO 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 Opera 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, directors 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 Prize 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 16.00 The Deck Discussion on site-specific work 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 Exposure 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 17 In detail Rehearsal Room 1 Programming workshop Led by Marc Scorca, President CEO OPERA America A practical exercise inviting all departments of opera companies to play General Director and understand each other’s imperatives and priorities 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 ambassadors Led by Marc Chahin, Head of Public Relations & Communications, 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 17.00 Rehearsal room 1 Juan Film by Kasper Holten, with Christopher Maltman, Mikhail Petrenko, Elizabeth Futral and Maria Bengtsson 17.15 Cottesloe Foyer Technical & Production forum Driving change: culture & management Mener le changement: culture et management Led by Jan Hauge, Technical Director Norwegian Opera 18.45 End of the day’s sessions at NT Fin des sessions de la journée Royal Opera House 17.15 ROH Linbury Exposure 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 Ablamonova (Operomanija Vilnius) View from the East Room at Tate Modern Evening 20.00 Tate Modern Walking dinner in the East Room on the 7th level overlooking London, and tour of the collection 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 21.00 Group 2: guided tour at 20.00 followed by dinner at 21.00 Please respect the indication on your ticket Buffet dînatoire avec vue sur Londres depuis la “East Room” du 7ème étage et visite de la collection 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. 18 Numéro spécial 33 – PRINTEMPS 2011 In detail Sunday 6 March 2011 Building 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 Berry Royal Opera House 10.00 Linbury auditorium How do we convey the message about what we do? Caroline Bailey, Director of Marketing ROH John Berry, Artistic Director ENO Alistair Spalding, Artistic Director and CEO Sadler’s Wells Daphné Tepper, Policy Co-ordinator Culture Action Europe Moderated by David Lan, Artistic Director The Young Vic 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 The 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 11.30 Hamlyn Hall Break - Pause 12.00 Linbury auditorium Conclusions and action points 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 13.00 We 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 19