Terminating San Diego Opera is too drastic a solution

By David Amos

SAN DIEGO — Four days ago we were shocked, dismayed, and saddened to hear that the San Diego Opera will cease operations by the end of this season, namely next month.

Many of us heard it in the newspaper and television; some of us received direct e mails from the Opera, but for the great majority of music lovers in San Diego, this came as a complete surprise.

You may have read the few letters to the editor and articles in the San Diego U-T, or seen the eloquent plea from Cantor Sheldon Merel in San Diego Jewish World. Here are my opinions on all of this.

First of all, San Diego Opera has been with us for 49 years. During this time, they have had their ups and downs, but on the whole, you would have to rate them as “magnificent,” with its only serious rivals, maybe five other opera companies in the United States. Since the arrival of Ian Campbell as the general director, their artistic quality and financial stability were increased many times over, season after season. Campbell’s budgetary projections, choice of operas, and selection of guest artists were second to none. Keep in mind that in the upper echelons of opera, worldwide, there are many egos, surprises, attitudes, and the inevitable last minute cancellations by the stars. There is enough here to drive anyone insane with damage control challenges at the most unexpected times. (Ask me about the time, decades ago, when the San Diego Opera premiered La Loca, by Gian-Carlo Menotti, with Beverly Sills).

Look for Schuyler Chapin’s book, Musical Chairs. The last third of the book deals with his years as General Manager of the New York Metropolitan Opera.

Campbell and his board took the drastic decision to close shop, abruptly, with no fanfare or public plea for support: The simple reason I read is that “We will do it 100% with the best quality in mind, with no compromises, or we don’t do it at all.”

I respectfully disagree with that.

Sure, an uncompromising standard of “nothing but the best” is noble and preferred, but the public is being robbed of the wonderful experience which is this art form. Certainly, our audiences are shrinking. The opera-goers, as it is for symphony and chamber music, are generally older, and, as nature works, are slowly dying off. The promotion of sophisticated art forms for the educated is difficult, and so many times discouraging. It all comes down to what we experienced at home as children, and what we were taught in school as an important part of being educated and enjoying the finer things in life.

This is hardly happening anymore. Sure, once in a while you hear of the middle age person who existed in the world of rock-n’-roll and the pop arts, and suddenly discovers the wonders of opera and symphonic music; but such people make for good stories, but will not fill too many seats of a theatre.

So, what do we do? Just give up and consider all of the above a museum art form whose days have passed, or shall we regroup and reassess our approach?s

I am all for the utmost in quality. I have recorded over 30 compact discs, most of them with the best orchestras of the world. Here, there simply is no compromise. We diligently and thoroughly recorded with the orchestra the music at hand, we meticulously repeated “takes” until all the material was covered, and then proceeded with the painstaking task of slowly and carefully editing the recorded material. The results were usually close to perfection, something that is rare in a live performance.

But, I also conduct a community orchestra, where perfection of execution is something we strive to achieve, but may not always reach. But there is communication, intimacy, and love for the music, which the usually enthusiastic audiences and musicians can feel.

Several decades ago, Isaac Stern was touring China with his piano accompanist. I have received reports that he canceled recitals in several cities, because the piano available to them was tuned, but “not good enough.” Audiences were robbed, and music lost. Sure, it’s good to have high standards, but what do you sacrifice along the way? Legend has it that the legendary soprano Maria Callas canceled more performances than the ones which were booked for her. The reason given was that since she was a superstar, she only allowed herself to be heard when everything was in place, including the stars, her voice, her stamina, and the weather. Was this correct and justified? For many, yes, for many more, no.

Consider another factor: If we put behind a curtain the Vienna Philharmonic, and then the Phoenix Symphony (a fine orchestra), how many in the audience could tell the difference? I would bet that most would not, even when hearing exactly the same music, back to back. Many concert-goers who claim to support only “the best” can not really tell of any subtle, or even obvious differences.

The same goes for opera. If the Modoc County Friends of the Opera (I don’t even know if there is such a group) present a fully costumed version of Aida, with orchestra, staging, local voices, animals and all, would the audiences really know the difference from this to a Covent Garden production? I doubt it.

What counts most is pure love for music and music drama. I saw in Vilnius, Lithuania, a live, complete performance of Bizet’s Carmen. Sure it wasn’t the Met, but is it better to stay in my hotel room and not hear this delightful classic? I can be very picky and snobby in what I hear, and am not shy in expressing my disgust at music which is performed with technical perfection, but no soul, artistry or direction, but we should all learn to adjust to the circumstances, and enjoy the wonderful gifts of opera and music in general.

The following paragraph may contradict some of what I am saying,, but look at it more than once. Donald Vroom, the editor of the prestigious American Record Guide wrote in the March-April 2014 issue: “The goal of all marketing is obviously to get more people to go to concerts. I question that goal. Whenever quantity becomes a goal (as in filling all the seats at the Civic Theatre), quality is driven out. Also, it is not realistic. The market is saturated. There are more concerts (and operas) than we can sell; we aren’t filling the seats. It’s not for everyone. It’s not for most people. We who care about the orchestra are sorry to see so much money wasted trying to get people to come who never will. Television ads are a serious waste. People who watch television are not our audience”.

Maybe Ian Campbell and his many loyal supporters would consider to continue, but at the same time educate the public to accept young, lesser known voices, who would use San Diego as a serious platform to progress their careers. They would cost a fraction of what the superstars demand, and the budget may be more easily reachable. When you can’t afford a Rolls-Royce, or a Rolex watch, you compromise; you would not give up having a car, or being aware of what time it is. Sadly, I know people who would!

Let’s bring back grand opera to San Diego, and re-think what we really need. Forget the high society elitist approach; it has stopped working. Unfortunately, it is a road to nowhere. It is what opera has become, not what it should be.

Let’s find a way, together, to bring opera to San Diego at a very high standard, but with achievable goals. A lot of what the San Diego Opera has done in education and community outreach has been remarkable, but the whole concept should not stop.

*
David Amos is conductor of the Tifereth Israel Community Orchestra and has guest conducted professional orchestras around the world.  He may be contacted at david.amos@sdjewishworld.com
San Diego Jewish World seeks sponsorships to be placed, as this notice is, just below articles that appear on our site.  This is an ideal opportunity for your corporate message or to personally remember a loved one’s contributions to our community.  To inquire, call editor Donald H. Harrison at (619) 265-0808 or contact him via donald.harrison@sdjewishworld.com