Isn't it fascinating to realize some XIXth century practices still go on in major Opera Houses?
The example of the intense competition currently going on in Paris is reported in "Clause d’exclusivité : Favart tacle Garnier et Bastille", an article published on Qobuz (a site ran by Abeille Musique).
Nicolas Joël, soon to be the director of the Opéra National de Paris (that includes both Bastille and Garnier), is apparently reviving the exclusivity clause when signing his cast.
The Opéra Comique, the third lyrical theater in Paris, and struggling to survive, is complaining of such unfair customs, in the voice of its director, Jérome Deschamps.
There's something incredibly wrong in Joël's justification though. "If they do in in NY, why can't we?" Well, because we're French maybe? And should care more about the Art than about the money?
The example of the intense competition currently going on in Paris is reported in "Clause d’exclusivité : Favart tacle Garnier et Bastille", an article published on Qobuz (a site ran by Abeille Musique).
Nicolas Joël, soon to be the director of the Opéra National de Paris (that includes both Bastille and Garnier), is apparently reviving the exclusivity clause when signing his cast.
The Opéra Comique, the third lyrical theater in Paris, and struggling to survive, is complaining of such unfair customs, in the voice of its director, Jérome Deschamps.
There's something incredibly wrong in Joël's justification though. "If they do in in NY, why can't we?" Well, because we're French maybe? And should care more about the Art than about the money?
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