A British boss in New Orleans
NewsNew Orleans Opera has named Lila Palmer as its next artistic and general director. She starts in May and succeeds Clare Burovac, who lasted just three years.
A Cambridge graduate, she joined English National Opera as a mezzo before shifting towards writing librettos and directing opera.
Promo photo © Daniel Welch
A British boss who has never run a company, never worked somewhere that is deeply invested in works of the traditional cannon, and has never fundraiser. What a bizarre choice. But I am sure plenty of the works she wrote librettos for will get forced onstage.
Well said!! (It happens more often than you might think.)
Having directed an arts institution in New Orleans myself, I hope Ms. Palmer is aware of the unique culture of the city. Fantastic for tourists, but difficult beyond words to get anyone to concentrate unless it involves a Mardi Gras ball, Jazz Fest, and endless socializing. Day-to-day living is a bitch, not to mention plenty of heat and humidity.
I always recommend the novel “A Confederacy of Dunces” to introduce friends to the ambience of New Orleans. Despite the title, it is an affectionate observation of the stock characters who inhabit the city. It won a Pulitzer and remains a head-scratcher why it was never turned into a movie.
“Laissez les bon temps rouler”…not a joke.
Get your facts straight. Though this is her first General Director position, she has an extensive knowledge of the canon and is an accomplished administrator with a proven track record in fundraising, artistic program development, and increasing the ROI of marketing initiatives with a focus on diversifying audiences – something every opera company needs. I’m one of the many people who have seen the impact of her work first hand – have you? Your ignorant comment is just obnoxious.
Ha. Hysterical. Funny that NONE of the press release found this “proven track record” to described it. She’s totally unqualified. and yes, I have seen it.
It took days (not to mention a well-written piece by Quo Johnson) for Ms. Palmer to own up the tone-dear choice of words she used and apologize. Slow on that. I find that concerning, particularly for such a culturally rich city in which POC are not represented at the opera.
What a tone deaf hire for the classical music community of New Orleans. This will only keep the stigma that is current and shows that the company is scared of growth. Someone with zero experience in fundraising, leading a company, and doesn’t understand the culture of the city is the worst choice. The board is a fungus that needs to be revamped immediately.
Oh God…
I made my professional debut with New Orleans Opera in 1980, when Arthur Cozenza and Knud Andersson were in leadership, and I returned there several times over the next 14 years, in total, two productions of Carmen, La Traviata, Don Pasquale, Madama Butterfly, Le Nozze di Figaro and Tannhäuser. The company has gone through many changes since my time there, but it remains quite special to me. I know nothing of this newest General/Artistic Director but what is written about her, upon which one should not be too quick to rely. I hope she proves her naysayers wrong, demonstrates a sense of care for the great traditions that come with a great city, while also carefully infusing a bit of innovation. It’s definitely a “give her some room to prove herself worthy of the job” stance I’m taking, while crossing my fingers for this beloved company.