Largest faux pas in recent history was to entice Gerard Mortier, who Knowledge of how the artistic decisions of an opera company are made. Involve herself in the company’s artistic procedures without much To an article in Opera News by Fred Cohn, she managed to successfully While she might have had the financial sense, according Susan Baker, aįormer Goldman Sachs executive, was elected to the post of Chief of the Board Like Susan Baker, George Steel, and Gerard Mortier to mind.
It should be no surprise if this statement brings names Talents that were almost innate in America’s operatic darling.Īs far as the company’s artistic actions are concerned, City Opera hasįared none the better. Unfortunately, the company’s generalĭirectors in the post-Sills era have not been possessed of the fundraising Produce a product with the caliber of the Metropolitan Opera while lacking the What’s more, City Opera management has spent decades trying to Suffered from faulty management, both where financial and artistic matters areĬoncerned. “the people’s opera” that the company has perennially Ticket, it’s fair to guess that the company selling ten dollar tickets Traviata, one for twenty dollars a ticket and the other for ten dollars a That are quite literally adjacent to each other are performing La After all, he reasoned, if two opera companies This greatly perturbed Bing, and his fears had a soundīasis in elementary economics. Apparently, what began as a joint venture between the Metropolitan Opera and the New York Philharmonic turned into a triple endeavor when the well-known conductor Julius Rudel, then the head of New York City Opera, decided to join the group, bringing City Opera from City Center to its new location in what was then the New York State Theater.
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