Them's fightin' words

Hot on the heels of the season announcement comes a bit of a scandal. Mezzo soprano Fiona Janes has gone public with a lengthy list of complaints about Opera Australia, its treatment of singers and a slide into what she calls "an abyss of mediocrity". According to the Herald article, she'll meet with members of the Opera Australia board next week to discuss her concerns — outlined in a seven page letter first discussed in April. These include:

-young singers cast in roles too big for them
-the neglect of older singers and particularly women
-the importation by Richard Hickox of "second- and third-rate" overseas artists
-"disrespect for a number of established Australian singers"

On the first point, I absolutely agree. The rest is murkier. I am very interested to see what comes of this. In the meantime, I want to throw this open for discussion. Reader, what do you think about Fiona's claims? Speak your mind. (Anonymity is fine.)

Comments

[David]

She is spot on with one point!! Where have Deborah Reidel, Elizabeth Whitehouse and Joanna Cole gone? Once staples of our season and now now longer seemingly with the company!! All Australian women over 40 with terrific voices and established reputations, just vanished from the Australian operatic scene. Does anyone know why?

Ms Janes has some legitimate concerns, but her letter has become a scathing diatribe that has missed much of what has happened recently that is of the highest excellence, a company investing heavily in its up and coming stars of the future and doing marvellous things. It reads as being very personal and more about her and her frustrations and actually less about the rest.

Perhaps her neglect from the AO roster which is what I see as the underlying reason of her gripe, is about her declining vocal standards and rather poor stage presence as an actress. The last two times I saw her she was quite unconvincing vocally and dramatically and just perhaps AO mangaement agrees.

[David]

I'm having another comment because the more I think about it the more angry I am with her stupid comment about "an abyss of mediocrity" and the implications of it.

As a suscriber since 1994 I can only say that in the big picture we are so lucky in this country with what we receive from our national opera company-it is stupendous!!! Comparable to the best in the world on many levels and in so many respects. There are of course ups and downs and we all have our grizzles about what we have liked and disliked, but to suggest that somehow the last few years has sunk into or is sinking into an "abyss" is so wrong and so mindlessly disregardfull of all the wonderful young Australian artists and talents that bring us such gems and who are forging their careers as we speak.

I'm sure Yvonne Kenny, Peter Coleman-Wright, Teddy Tahu-Rhodes and Cheryl Barker who grace us with their presence year after year would love to be thought of as part of the "mediocrity" let alone the amazing conductors and producers who have worked with the company!!!I'm sorry what a bloody nerve!!!

It's a bit rich coming from a singer whose last appearances with the company have been as a sexless and underpowered Donna Elvira, a frumpy and spiritless Adalgisa (and lets not forget her totally grandmotherly Juliet in concert this year) and who has the nerve to condemn our international guests who all have significantly greater careers than her and sing in opera houses who have never heard of Fional Janes, as second or third rate!!!!!! Sorry, but the rating is not coming out on her very well!!!

This is so clearly about her disappointments and frustrations for not being on the roster this season or the next, which is fine but to condemn all else, not on Ms Janes!!!!!

[Mein Gott in Himmel!]

As a member of OA's ensemble, I have shared the stage with and thus witnessed the diabolical effect of a number of these so-called 2nd and 3rd rate international artists. The effect on company morale is quite devestating when such artists are brought over, paid generously no doubt, and end up doing a mediocre if not outrightly dismal job. It's such a shame and really brings down the tone of a show.

On the other hand, international artists who do a fabulous job, (Jennifer Wilson, Janice Watson, Sally Matthews, Dennis O'Neil), really boost morale among fellow performers by elevating the on-stage mood and instilling a sense of pride in company members.

I would love to know:
Where's the internal quality control? and,
Why is it so hard to get it right?

[David]

At the risk of taking over this blog I am interested in Mein Gott in Himmel's comment. I appreciate what you say, but surely to quote you "a number" of not so good artists lowering morale over many years does not outweigh all that you and the company and the terrific artists do, that is so good such that the phrase "abyss of mediocrity" can apply?

As a member of the ensemble do you not find this not only to be wrong but totally disregarding and disrespectful of what you do, that we the loyal subscibers think is fantastic?

[Mein Gott in Himmel!]

Thank goodness for loyal, long-time subscribers like yourself who really do care about the quality of opera OA is producing.

Please realise, I can only speak from my personal experience of recent years' offerings and do so not to undermine the work of my domestic collegues but to call to account management's hiring of certain international artists who, IMHO, do not cut the mustard. I know I am not alone in this view which is a topic of continual discussion in quiet corners of the Opera Theatre.

Also, I did not use or quote the phrase: "abyss of mediocrity." I think Fiona goes too far with that one.

[David]

I wasn't implying you had you used the comment, sorry poor expression!! I was just quoting Fiona Janes. Sorry if you misunderstood me on that point!!

[wanderer]

Quality control? You mean is the bottom line red or black? (and I do understand that is this country etc...)

[Tannhauser]

Hope you read Michael Black's (OA Chorus Master) excellent rebuttal in the paper today. Very well worded.

[David]

Hello, where is Michael Black's rebuttal? I cannot find it, is it in the Weekend Herald??

[wanderer]

SMH letters page Saturday

[Thomasina]

«(and lets not forget her totally grandmotherly Juliet in concert this year)»

Sorry David, if you are referring to Fiona Janes' appearance in the SSO presentation of Berlioz's Roméo et Juliette then you need to take back the phrase "grandmotherly Juliet" – or rather, take back "Juliet".

The mezzo-soprano part in that symphony is not Juliet. The only "character" from the play who is sung is Friar Laurence at the end (and the two feuding houses are represented by the chorus). Elsewhere in the work the soloists and chorus take on narrative and "Greek chorus" functions. Berlioz himself intended for us to hear the orchestra as representing the lovers and their passion.

So think Ms Janes grandmotherly if you wish (I didn't think so) but please don't misrepresent the part she was singing.

[David]

i stand corrected!!!!

[Trevor]

I was curious to see Fiona's letter. The paragraph that I did receive in an email was quite shocking. It was personal and made allegations of sexism and ageism and personal attacks on Hickox. I would have thought that if this kind of action was going to be taken the letter would be professional, succinct and less emotionally charged. There will always be singers who feel they should have more work and who feel overlooked. The bottom line is there are too many of us and too few jobs. I think it is so subjective, this whole argument. No one can win. I feel for Fiona and I think she makes some valid points, however I don't think that anyone can "win" this argument. At the end of the day it is just a matter of taste. And it is Hickox's taste that we must hope we please if we want to continue to work in Australia. Before Hickox, we were subject to Simone's taste and in the future....and so it goes.

[wanderer]

"because I'm keen to keep the discussion going"...

A pertinent letter < Quality not commodity in the opera gamefrom > from John Carmody (critic) in today's SMH:

" Well may Bryce Hallett ask, "where is the next Sharman or Armfield?" ("Opera favourites for next year, Bliss comes later", August 15), especially if that question was triggered by the assurance from Adrian Collette, the chief executive of Opera Australia, that his company "needs to keep an eye out for the next generation of directors".

Collette is unpersuasive partly because last year Opera Australia presented a dreary and pretentious production of The Barber Of Seville in preference to a version proposed by just the kind of young director he claims to be seeking. As Elke Neidhardt's brilliant Don Giovanni showed, age is not the issue, although the absence of a new production from her in the 2009 line-up does suggest the company has difficulty in recognising quality.

And that, surely, is the kernel of Fiona Janes's criticism ("Sharp notes on opera standards", August 15): whether the administration of the company can judge good singing or whether being a marketable commodity is the more important criterion.

John Carmody Roseville "

[bluey]

In light of the fact that both of the people who complained in the press were mezzos (Fiona Janes and Kirsti Harms), is it significant that Mrs Hickox aka Pamela Helen Stephen is also a mezzo doing major roles that these two ladies could/would have done? Or is there just a dearth of repertoire opportunities for these two?

[Trevor]

I am sorry but I would prefer to see Pamela over these two any day. If Pamela is to be in Australia with Hickox, why should she not take up professional engagements rather than just sit on her hands. She is a wonderful singer and actress, (and colleague), and not just Hickoxs' wife! We are lucky to have her here and the company is right to use her where they see fit.

[David]

I have to agree with Trevor, Pamela Helen Stephens is a wonderful artist who is totally justified to grace our stages in her own right and not because she is Richard Hickox's wife. Perhaps part of the problem is that in any given season the opportunity for all artists who have the potential to appear on stage in either Sydney or Melbourne does not present itself. Are there too many singers in Australia competing for an inevitably limited number of roles?

[samsonanddelilah]

OK - we've sat back and watched this blog for a while and now let's crave your indulgence and cut to the chase!

We are regulars at OA and have a few points we'd like to share.
First point - Pamela Helen Stephen, whilst we agree that she is a fabulous performer and delightful lady, is no more a mezzo than Bruce Martin is a contralto! We'd love to see her doing some heavy lyric soprano repertoire, as we think she would absolutely shine in these roles - her top range is much more impressive than her current repertoire suggests, and her lower range is quite underwhelming at times (as in her Hoffman).
(As an added bonus, this would also please Fiona Janes et all, as the mezzo rep would open up for them ... but of course not for Kirsty Harms, who is also undoubtedly a soprano ... she sang Butterfly, for crying out loud!!!!)

Secondly, David - spot on about Joanna Cole. This is an absolute travesty, as she is a glorious singer and much under-used.

Thirdly (we do go on!) - there is no question that roles are often taken by international artists when there are Australian singers who could perform the role as well, if not BETTER, than these imports. Of course, many imports are absolutely brilliant (Jennifer Wilson, Sally Matthews, Eric Cutler) and deserve their place, but there are so many other cases where Aussie artist are overlooked for second-rate (at best) imports and it must be completely demoralising, as stated by Mein Gott In Himmel (eg: Sonia Prina - please don't tell us there isn't an Australian artist who could have sung this role, since one apparently is in the Melbourne season).

These are but a few of our offerings, designed to whet the appetite and promote discussion ... we'll be back!

S and D