Madam, – May I add my voice to those decrying the decision to close Opera Theatre Company in favour of a new Irish National Opera company?
Opera Theatre Company has done a great service to this country by bringing opera to locations and audiences all over the country for the last 25 years. The fact that it has this concept as one of its central goals means that were the company to survive we would be assured of quality operatic productions outside the capital in the future. There is no guarantee that this ethos will survive its closure. Indeed the opposite is most likely to happen. The pressure will be on this new company to produce large, lavish, headline- grabbing productions to justify its existence and budget. Such productions will most likely be unsuitable for smaller venues and in addition the cost of these productions will probably leave very little money available to mount alternative touring productions of quality and substance.
How long before this new Irish National Opera decides that it is just too much hassle to bring such small touring productions on stream? Not long, in this writer’s opinion! Opera in Ireland has been served well by small companies like Opera Theatre Company, among others, working to specific agendas. The idea that consolidating them into one large ungainly organisation will mean all these different agendas can continue to be served is foolish.
In every other area of life we are told it is better to have multiple organisations competing against each other as opposed to a cartel. Would we accept having only one bank, one grocery retailer, one car company? Of course we wouldn’t. So why are we following such an unsuitable course of action in this situation?
Opera Theatre Company has a proven track record in both the quality of its output and its financial management. It should be rewarded for this artistic and monetary ability instead of being dismantled. Let us not see opera in this country once more become the preserve of those who happen to live in the capital.
It is not too late to reverse this decision. Let us hope that somebody in authority has the wisdom to do so. – Yours, etc,
Madam, – So much for the image of a sophisticated, international Ireland, an inspirational and aspirational haven for the arts. Here we go, straight back to the bogs. To close a rare jewel of a European – no, a worldwide – success story in the notoriously problematic field of opera is so stupid I can’t find words to express the degree of idiocy it takes. – Yours, etc,
Madam, – Eileen Battersby’s sobering article regarding the imminent dissolution of Opera Theatre Company (OTC) reminds us all of the incredible body of work produced by a team dedicated to bringing opera to the masses all over this island (An Irishwoman’s Diary, September 20th).
In a follow-up letter, former OTC chairperson Gemma Hussey echoes Ms Battersby’s praise of a company which did the unthinkable when it brought 20th-century Czech opera, sung in English, to the Aran Islands (September 21st).
As a former employee of the company I wish to highlight another vital aspect of its work – that of the training and development of young Irish and Northern Irish opera singers.
The OTC Young Associate Artists’ Programme, under the expert guidance of Irish international opera practitioners Annilese Miskimmon and Brenda Hurley, provided a groundbreaking educational experience for emerging opera talent in this country. In the six years of the programme’s existence many young singers have been given the opportunity to work frequently with world-class singers, directors and vocal coaches, most notably the programme’s patron – Irish mezzo-soprano Ann Murray and her late husband Philip Langridge, who both gave freely of their time to ensure the future of Irish opera was in safe hands and stirring voice.
Many alumni have been accepted onto very prestigious apprenticeships around the globe: Dublin’s Anna Devin with The Royal Opera, Covent Garden; Limerick’s Mairead Buicke with English National Opera; Antrim’s Carolyn Dobbin at Welsh National Opera and Clare natives Naomi O’Connell and Dean Power at New York’s Juilliard School and Munich’s Bayerische Staatsoper respectively. Their success pays tribute to a company that, in a typically selfless gesture, sought to bridge the gap between third-level opera education in Ireland and the main stage worldwide.
Why are we letting go of such a financially secure cultural treasure? As they plough into an uncertain Christmas for everyone in recession-hit Ireland, my former colleagues, many of them breadwinners for young families, can at least be certain of one thing in the new year – unemployment. – Yours, etc,
Madam, – Having lived in Ireland for four years as a classical musician, I have experienced opera in many different forms, both as an audience member and as a performer. Opera Theatre Company has always stood out as a particularly innovative, fresh and exciting company.
I agree with the opinion of Eileen Battersby and I would like to echo the seriousness of this mistake in the decision to close such a successful touring company. The artistic standard and imagination of OTC is unique and of a high level. It is also a company which helps brings opera to an audience which perhaps would not have the opportunity to travel far or would be put off by the world of grand opera which some would see as elitist.
It also has a fantastic education department, giving young students and singers the opportunity to work with inspiring production teams and musicians. It nurtures and develops aspiring Irish singers to the forefront of the musical world in Ireland, giving Irish audiences new exciting performers and people to look out for in the future.
I hope there is some way in which this talented, innovative company can survive in Ireland. Losing it would create a large gap in the arts in Ireland. – Yours, etc,