An orchestra shuts down in France
OrchestrasIt is being reported by musicians that the Orchestre OSE of Lyon has quietly shut down.
Here’s an account by the baritone Jérôme Boutillier:
💥☠️Triste 1er Mai – Mort silencieuse. ☠️💥
Ce n’est qu’en discutant au hasard d’une rencontre avec son (ex-) directeur musical, Daniel Kawka, un chef d’orchestre immensément musicien, sensible et dévoué qui recueille auprès de ses pairs admiration et respect, que j’ai appris non sans effroi que l’ensemble symphonique lyonnais OSE avait mis la clé sous la porte, dans la plus grande discrétion et l’indifférence générales. Le sentiment qui m’a glacé s’est empiré quand je me suis rendu compte que j’avais chanté leur tout dernier concert, en compagnie d’Anne-Catherine Gillet et de Majdouline Zerari : ce programme d’opéra franco-russe que nous avions donné à Thonon-les-Bains puis à Firminy à l’automne dernier.
Cette mort, faute de soutiens et notamment celui de la Région Rhône-Alpes, fait écho à une autre nouvelle, celle-ci relayée par les médias : la menace qui pèse sur le TNG de Lyon à cause de la suppression pure et simple de la subvention jusque là accordée par cette même région. (Article ici => https://shorturl.at/himFH)
Si on ajoute à cela que partout depuis bientôt un an les opéras de toute la France ou presque prennent l’eau et affrontent des difficultés monstres (l’Opéra-théâtre de Saint-Étienne qui s’est vu contraint d’annuler une production sur les cinq de sa prochaine saison… et il y a moult autres exemples)…
Euh…. C’est bon, on peut commencer à paniquer? Ou on continue à faire comme si de rien n’était?
Rappelons que nous avons encore la chance en France d’avoir une culture PUBLIQUE ; je dis bien => la CHANCE. Et que de cette chance nous avons le devoir de nous rendre dignes, et de montrer à nos pouvoirs publics sur l’ensemble du territoire qu’elle est essentielle et congénitale à l’exception culturelle de notre pays, tout comme notre Sécurité Sociale. (Et non, avec tout le respect et jusqu’à preuve du contraire, Hanouna ne fait pas partie de l’exception culturelle française)
Alors, c’est plus que jamais le moment, éteignez votre p@t%#*$ de téléviseur et foncez au théâtre, à l’opéra ou à la salle de concert la plus proche, pour « consommer » de l’art VIVANT sans aucune modération, au nom de votre santé mentale et spirituelle qui vous remerciera, ainsi que les artistes que vous ferez vivre.
Par pitié, ne donnons pas UN prétexte à nos édiles pour fermer les opéras et les théâtres, car la période est par trop fragile pour ces derniers et certains élus n’attendent que ça : en ces temps troublés, plus que jamais, prenez le risque de l’Art.
Daniel, Monique, Thierry… trop peu de gens ont dû vous le dire : du fond du cœur un grand MERCI d’avoir porté cet orchestre, d’avoir fait vivre et vibrer des musiciens et des chanteurs, d’avoir simplement cru en la musique. Je ne sais s’il existe encore un lieu où cela puisse un jour vous être rendu au centuple, mais j’ose le croire.
Gratitude et reconnaissance éternelles.
This French orchestra having to close will be the first of many more in the country.
As the French still maintain a very outdated way of managing their arts institutions, being nearly totally dependent on public money to finance their programmes, they have nowhere to turn to find alternatives to survive. Since they tax wealth at some of the highest rates in the world and have outdated attitudes to rich people, business and money in general, they have few individuals who could even save them and a system that doesn’t give any incentives to a wealthy person to sponsor an orchestra or other arts organisation in a big way. The French have trapped themselves in a corner and their country is highly in debt, is suspicious of private money, dislikes entrepreneurs, fears innovation and still believes that the State should manage all cultural affairs. With that mindset, they are sadly condemned to watching their peripheral arts organisations struggle and ultimately collapse, as they have not created many alternatives for financing them. France is a very sad place, more a broken museum than a living thriving nation.
The entire French system depends on public money, because culture in general is something viewed in France as a public good, as are health care and education. This is why there is a Ministry of Culture in the French government, as opposed to a country such as the US, which simply does not have one. What you describe as “outdated” is merely your own subjective, and therefore biased, point of view. Subsidies have worked quite well in France for decades, allowing major institutions to remain independent, thrive, and not become a social accessory for major corporations. To praise the alternative model and claim that it does not lead to organization closures, because private money would allegedly ensure their continuity, is simply an absolute joke. When donors in the United States decide to either end funding or start demanding drastic concessions from their orchestras, I somehow don’t see that as truly fostering the arts. The real question is why these subsidies are now dwindling, and it is no doubt related to Mr. Macron’s vision, which is to slowly get away from the conception of a state being involved in the public good and on the road, “en marche,” to general privatization, as we have recently seen with the retirement reform debate. I’m sure Mr. Macron’s managerial style would love to eventually privatize health care and education too — but that might actually prove much harder to pull off. You are free to criticize France all you want, but facts are stubborn. The model you seem to be defending is far from ideal, it is in fact the road not just toward the end of many art organizations, but also towards the dumbing down of audiences — exactly the kind of dilemma we have found ourselves for about the last 10 years or so, as the over-reliance on this corporate model is hindering access to the arts to those who could build tomorrow’s audiences, as well as compromising artistic quality in exchange for prioritizing the bottom line.
Your arguments are weak and archaic. You make a comparison between France and the U.S., saying that the U.S. has no Ministry of Culture, implying that arts are not thriving and successful there. In spite of not having a Ministry of Culture, the U.S. has produced more top quality orchestras, opera companies, soloists and music conservatories than any other country. Think for a moment of the symphony orchestras in Boston, New York, Philadelphia, Cleveland, Chicago, Los Angeles, San Francisco…how about operas like the Metropolitan Opera in New York, the Chicago Opera, the San Francisco Opera….think of singers like Jessye Norman, Kathleen Battle, Marilyn Horne, Leontyne Price, Beverly Sills, Renée Fleming, Joyce DiDonato, Robert Merrill, Sherrill Milnes and so many others…think about the greatest and highest ranked music conservatories in the world: Juilliard, Curtis, Peabody, New England Conservatory, Manhattan School of Music, Jacobs School of Music, Berklee College, Colbern School, Cleveland Institute of Music, and so many others….
So, how do you explain that a country, that you write has no Ministry of Culture and implying that it has no interest in culture, how do you explain that without a heavy bureaucratic system, the U.S. has been able to produce so much very high-level music culture?
I sadly must agree with the comment by Jan that you reacted so violently to. I also sadly agree that culturally speaking, France is a worn out and very boring country, run by mostly pretentious, very provincial people, the most of them not really being of much interest, if you compare them to those elsewhere in the world. The French preserve (badly), while the rest of the world creates, surprises and innovates, even without a bureaucratic Ministry of Culture.
“the U.S. has produced more top quality orchestras, opera companies, soloists and music conservatories than any other country”
Not in proportion to its lucky heritage, size, relative long term stability and wealth, it hasn’t.
I’m shocked by the level of philistinism and general ignorance of much of its youth whenever I’m there, and it seems to be getting worse.
France isn’t perfect, no country is, but your generalizations are appalling.
What a very sad news…. Nevertheless, Jérôme Boutillier is a wonderful BARITONE not a pianist
…though he has real skills in this domain, having started his career as what you call now a “collaborative pianist”. He does song cycles accompanying himself.
Thanks for drawing attention to this, but why are you writing PIANIST Jérôme Boutillier (in capital letters, no less)? He’s a baritone. I had the pleasure of seeing him as Posa in Marseille.
As well, Boutillier is listed in the poster-photo above as a BARITONE.