A slyly overcautious management board generates turmoil
at English National Opera, by RODERIC DUNNETT
Opera experts around the world have reacted in disbelief to the peremptory
way English National Opera has accepted the resignation tendered by its
General Manager, Nicholas Payne, universally recognised as one of the of
the most capable administrators in the business.
Payne (57), a previous Finance Director of Welsh National Opera before
heading up first the uniquely enterprising Opera North (with such acclaimed
productions as Ariane et Barbe-bleue and Der ferne Klang)
and then the opera department at Covent Garden, before moving to join Music
Director Paul Daniel at ENO, merges financial competence and a fresh and
original artistic judgment, and is seen as one of the pioneering giants
of the English, and indeed international, opera world.
The resignation comes in the wake of a number of artistic disappointments
at ENO, shared with some classic successes. Mozart, Verdi and even Rossini
productions drew some critical flak, although one of the weakest efforts
was one of the bravest and most imaginatively undertaken : an attempt to
breathe life into Spontini's gargantuan, pre-Wagnerian and pre-Meyerbeerian
effort La Vestale, once the glory of the post-Revolution French stage
and lauded by Berlioz. The cast was not felt to be up to it, and some casting
misjudgments as well as stage indulgences have indeed dogged and marred
a number of recent ENO productions.
Nevertheless the overall thrust was widely perceived as right, and the
board's and its chairman's acceptance -- if not engineering -- of a situation
where Payne felt impelled to throw in the rag reflects poorly on its notion
of how ENO's financial future, and the loyalties of its by and large enterprising
audience, can best be secured without -- pace the brickbats -- a serious
loss of artistic integrity.
Copyright © 19 July 2002
Roderic Dunnett, Coventry, UK