Opera Australia loses its head
NewsLyndon Terracini will step down as artistic director of Opera Australia at end of 2023.
He will be 73 on departure.
The announcement came pretty promptly from the newly installed CEO Fiona Allan:
‘Although I have not been working with Lyndon long, it is clear the enormous contribution Lyndon has made at OA since his appointment in 2009, especially his commitment to high performance standards, his innovation and entrepreneurial thinking.
‘From his ground-breaking fully digital productions incorporating giant LED screens and cutting-edge lighting and sound technologies, to the development of the now internationally renowned Handa Opera on Sydney Harbour, celebrating its 10th anniversary in 2022. His mission to deliver opera and musical performances of the highest quality to the widest possible audience, has been the driving force of the Company’s success during his tenure.“
‘And by partnering with world renowned musical theatre producers and major international opera houses, Lyndon has significantly broadened OA’s performing scope and audience reach.”
“The above is just the tip of the iceberg of Lyndon’s achievements over the past decade, and we will have the opportunity to properly celebrate these over the 2023 season.’
I hope I have such thick black hair when I’m 73.
I can recommend the hair colour shelves of any good drug store for a selection of the blackness you might want. Can’t comment on the thickness, but Italians tend to have good hair quality. I was raised to believe it was the olive oil.
Ah, but you have to have the hair on which to paint your Henna. He’s had a red hot go as OA and don’t well, so far as I can tell.
His hair is younger than 73.
What’s your beef?
Probably one of the least effective artistic directors of OA. I worked under Moffat Oxenbould, who did more for Australian Opera than you could imagine. LT is pretty mediocre by comparison.
Agreed. There will be much debate about Lyndon’s record, but I think he’s been responsible for our national opera – or the closest thing we have to it – in very challenging times: Covid, an indifferent Federal government, and the increasing effects of climate change. The OA has presented work of great quality (e.g. King Roger) and that’s what opera companies are supposed to do.
The pandemic was a very useful tool for OA’s covert agenda. The AOBO lost over a dozen long time members who received payback from management as a result of their union activism and membership. The opera company posted a profit as a result of government subsidies.
https://www.smh.com.au/culture/opera/opera-australia-gets-4-million-boost-after-lockdown-sos-20210725-p58cqb.html
But their biggest crime is their intention of staging a worse than mediocre musical theatre work like Lloyd Weber’s Phantom of the opera. A decision that stank of filthy lucre. Clearly and shamefully, this was a further dumbing-down of opera repertoire. Yes, instead of bringing up new audience hungry for authentic opera works OA was stooping to conquer. But conquer What?
looking forward to hopefully not having the same selected standard operas programmed year after year.
Opera lost its head a long time ago with the advent of so-called Regietheater. The question is, was it still alive as an art form when that happened.
Regietheater never got much of a look in at Opera Australia or its predecessors.
Ah… we’ve been aware of LT’s impending departure since Rory Jeffes, the prev CEO, referred to it in the announcement of his own departure. That was many months ago. All that’s new now is the timing and the search for his successor getting underway. Stop trying to give the impression that the new CEO is getting rid of him.