CULTURE

New era for troubled National Opera?

What is the first thing on the to-do list of Stefanos Lazaridis, the new creative director of the much-afflicted Greek National Opera? To present a sensational first season at the so-called Lyriki, a series of high quality productions featuring prominent artists (including foreign names), in order for his vision of the National Opera to be known immediately, to raise the morale of the company’s members and win the confidence and trust of the officials in order to move on, in a calm fashion, toward a detailed account of its problems. In order to do manage all this, however, Lazaridis needs urgent «financial and moral» support from the state – and so he waits. «If you don’t see me announcing next season’s program by May, that means we have a very serious problem,» he said. It’s all about getting support on this end – for Lazaridis has already mobilized people abroad, where he met with great support. Have you already moved here? Not yet. I still have a professional commitment which I have to finish. I’m working on the last part of the Wagner’s tetralogy, «Ring of the Niblung,» a large-scale Royal Opera House production set to open at Covent Garden on April 17. Until then, I will be going back and forth a lot. Afterward, however, I will concentrate my efforts 100 percent here, and we will begin working more intensely. That is why I canceled a number of important projects I had. What do you make of the National Opera’s situation so far? I’m learning. Today, I went to visit the Children’s Stage. And I liked what I saw. I saw positive things, and I’m interested in that stage. At the same time there’s also the Operetta Stage and the Ballet – the National Opera is made up of six different things. I’m only just realizing all this. And in the middle of all six lies the issue of the new building. What about the new building? I think there’s tremendous enthusiasm. I’ve heard all the great words, now I’d like to see some figures. Are you planning to change anything in the repertory of the current season? No, this season will stay as Mr Karytinos designed it. I’m only changing one little thing. As for my own program, I will present it in May – if all goes well, that is, and I have the right support from those above, if I have the necessary «gas.» Then I will not only present next season’s program, but also the one after that. This repertory will bear your signature? Yes, but before I announce it, I need to know that I will be in a position to pay all those people I would like to involve in it. If I’m not in a position to do so in May, then bear in mind that there will be huge problems. May is the deadline for next season. You have obviously asked for extra money from the Ministry of Culture in order to manage such an ambitious repertory. Naturally. This is the way we must begin – first of all to present something pointing in the direction we’re aiming for and then take a calm look at the inner workings, the organization and the finances. Announcing the season is the number one priority. You have defined your involvement in the National Opera as a «surreal participation.» What urged you to take over its creative reins? Every 10 or 15 years something happens, something changes in one’s life, we look for something, we need some kind of renewal. This is something I go through, at least. In order to follow this, however, you must take the risk. So as soon as I felt that I was reaching the end of such a cycle, it so happened that I got the offer. My reaction was, «This is either totally wrong for me or exactly what I need.» So I’m taking a risk and I don’t know if it’s a good thing, because it’s very dangerous. It’s dangerous for me, not for the company. The National Opera cannot find itself in greater danger than what it already is in… Was it the need for personal renewal that made you accept the challenge, as opposed to a desire to offer your services to the motherland? All of the above. The whole thing started last April. That’s when I got the first knock on my door. Then they all disappeared for months and so I thought, «That’s it then, it’s all over.» But they came back again, and it’s all your fault! Your articles on the National Opera published in Kathimerini in September and October stirred things up again. So we had a few meetings here and abroad and I finally made my mind up. But now I’m really frightened, though at the same time really pleased and having tremendous fun. I’m a man of theater and opera, crazy about all this to be honest. All the people in this business, wherever they may be on this planet, we speak the same language, but the bureaucracy is everywhere. Nothing but bureaucracy! Kafka! Well, that’s the hard part. Yes, that’s the one. The rest is pleasant and creative. To build up a nice repertory based on great collaborations, that’s what I thirst for, and I know of excellent colleagues abroad, people who have already showered me with solidarity and support. If I get over this first phase, if I have the help I need, moral and financial, to feel that my feet are on the ground, as opposed to deep in mud, that’s enough for me. It will be a start. If we present something positive, something which will give us enthusiasm and confidence, then we will have the time and courage to find out what should be done on the financial and organization level. This is the crucial bet, therefore. Precisely. If for whatever reason I cannot realize this first step, I will get stuck. Right from the start we must present some kind of body of work, not in words, but pointing in the direction we want to head. And that’s precisely where I need the support on the Greek level. I have 100 percent support from those abroad. They are very interested, because even though they consider me crazy when it comes to my work, at the same time they trust and care for me.

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