Caroline Surrier, Director of the Opera of Lille, made, Tuesday, October 5, his report on the Opera Policy in France. An exhaustive state of play and without complacency.
by
The audit of the National Opera of Paris commissioned by Roselyne Bachelot in Georges-François Hirsch and Christophe Tardieu remained, for almost a year, a dead letter. This will not be the case with the investigative mission on the Opera Policy in France, entrusted to the director of the opera of Lille, Caroline Sonier, whose results did, Tuesday, October 5, the purpose of a communication from the Ministry of Culture.
This report, which aimed at “to draw up an inventory of lyric production in France and to propose a reference framework for the lyric practice in France in the 21st century”, a Required The help of some two hundred people from the professional sector and local authorities. The goal ? “Implement the necessary perspectives and evolutions.”
The Caroline Silver team stumbled on the lack of specific data on managing operas. “It led us to apprehend the question mainly according to issues and projects,” she says. An outset observation taken into account by Roselyne Bachelot, who already announces the “establishment of a permanent observation device of the lyric world”. What seems all the more necessary that a great disparity raises between the twenty-six opera houses of French territory, outside Paris, to which the Choregies of Orange (Vaucluse) and the Aix-en Festival are added. -Provence (Bouches-du-Rhône): No fewer than nine different statuses, whether public or private, and unevenly distributed state support.
Opaque labeling
Not to mention an opaque labeling system, whose department now intends to study “a simplification (…), with the objective of making the lyric policy of the state more readable and consistent. Compared to 74 national scenes, 38 national dramatic center and 19 national choreographic centers, the low number of labeled operas interrogates. Five bear the label “National Opera in the region” (National Opera of Lyon, Rhine, Bordeaux, Montpellier, Lorraine), four that of “Lyrical Theater of National Interest” (Lille, Dijon, Rouen, Tours), Three of “Scene Agreement of National Interest in the Lyric Domain” (Massy, Limoges, Caen). Certainly, the Capitol of Toulouse Theater does not incollize any distinction, but it is clearly deflocked by the northwestern half of the hexagon.