Finale (I hope)

On the off chance anybody's still following this pseudo-saga, my Mediawatch post has been updated with the latest articles — Richard Hickox finally speaking out against the allegations of Fiona Janes and others, in particular the accusation of nepotism regarding his wife, Pamela Helen Stephen. May I just say, whatever the truth of any of this stuff, I think this particular slur is a non issue. First of all, Pamela is great. Not earth-shattering, but she's a fine singer and certainly at (or above) the standard of this company, whoever she might be married to. Second, if he was going to play favourites, wouldn't he have made a much bigger fuss of her? A Sydney season as Nicklausse, a short Melbourne season of Carmen and six performances of Werther next year — it's not exactly excessive, is it? Especially when, as I say, she's a good choice for those roles regardless. There may well be some unbalanced casting happening at OA but I don't think this is it. Third, the suggestion — and I have seen it made — that the fact that Pamela is Richard Hickox's wife should in and of itself prohibit the company from engaging her for anything is patently ridiculous. Please, opera has never worked like this. Of course people shouldn't hire their absurdly untalented spouses, but if the right person (or one of the right people in an array of choices) happens to be married to you, how silly would it be to pass them over for that reason alone? What if Richard and Joan had never been allowed to work together? Where would we be?

Comments

[Thomasina]

You make good points. There are certainly situations where an artist would be hired regardless because of his or her innate suitability for a role. They shouldn't be rejected on the basis of a relationship.

But it is such a tricky business. And unfortunately there are artists who do try (often successfully) to bring about gigs for their not necessarily untalented but perhaps very ordinary partners. And it's not just situations where one person is in the decision-making position and hiring their own partner; sometimes it happens when both parties are guests but one has particular influence.

You know, desirable Artist A says: "I'll come and perform for your company but only if you give an engagement to my husband/wife/partner/main squeeze as well." Now if Artist B were wonderful you'd want them anyway. But when Artist B isn't so very amazing or their engagement comes at the expense of someone better (especially if the someone better might have been someone Australian), that's a very frustrating situation.

So it's right that companies, critics, funders and audiences scrutinise - and yes, even be excessively cautious - whenever there's a hint of nepotism.

[Sarah]

Indeed they should. And I guess preferably they should do so with a view to consistently high artistic standards and fair practice.

What irks me is that the same individual who has suggested that PHS should be banned from OA purely because she is married to Richard Hickox has a long history (far predating Fionagate) of snide, offensive and uniformly derogatory writing about Pamela's performances, tending to dismiss even the possibility that she might be a worthy artist, purely because the writer has already decided that she only gets her roles through nepotism. It's the kind of axe-grinding which gets tiresome very quickly, and in this case carries just a whiff of sexism - PHS is usually referred to patronisingly as "Mrs Hickox", which I appreciate might be an effective way to Make The Point, but which irritates me no end.

[wanderer]

Worth considering also is that by accepting a contract here Mr Hickox has effectively removed his wife from her own job market, and a large market at that. It would not have been unreasonable for this to have been considered as part of his accepting the post. The tyranny of distance thing - she can't accept such and such in Europe, or wherever, because she's stuck down here, and she can't sing here because there's only this one major company, and what will they say! I can understand that he would not have wanted his working here for a significant time to have materially affected his wifes career, or the marriage.

[david]

On a completely unrelated but always important topic, the divine Ms Barker. Have you seen that for the 2nd year in a row a Chandos recording featuring her has been whittled down to the final three for Gramophone's operatic recording of the year??

It's Katya (last year it was the Makropulos Case and sadly it lost at the last hurdle to Mathilde de Shariban with Juan Diego Florez). It's up against the Belohlávek Excursions of Mr Broucek and the Bertrand de Billy La Bohème with Anna Netrebko and Rolando Villazón.

I'm worried that the attraction of voting for la Netrebko will just pip the Katya at the final hurdle even though she had universally poor reviews as Mimi. Anyway the results will be posted on Friday and fingers crossed for a win for the Katya!!

[david]

Oops, a spelling error!! Matilde di Shabran!!!

[wanderer]

Hang on David; "universally poor reviews as Mimi" is a bit strong.

"Arguably the true star of this performance, however, is Anna Netrebko's Mimi. From start to finish, she is in fine form, full-bodied, sensitive, unapologetically gorgeous." Opera Today

"Villazón and Netrebko bring to it a freshness, and spontaneous sincerity so that it is almost like hearing it anew. Their timbre is sheer beauty to the ear; Villazón all loving compassion and Netrebko innocently responsive yet sweetly vulnerable in her yielding." MusicWeb

"But Ms. Netrebko has a priceless gift: musical charisma. And that can overcome any number of problems. When the story gets dramatic, Ms. Netrebko gets very good — she is an affecting Mimì." NY Sun

"Netrebko, too, is in excellent voice, her gleaming soprano filling out Mimi's wistful phrases with grace and sensitivity." SF Chronicle

[david]

Just goes to show what you can read that differs!!! Seriously, I read at least 4 very unflattering reviews!! I take back the universally however!

[Sarah]

Yes, I had seen Cheryl's Katya on the list. Very nice.
But while naturally I'd like as many accolades accorded Cheryl as possible, I think the Bohème may well prove a tough contender. As someone who doesn't much like the opera and is by no means a slavish Netrebko devotee, even I was impressed - it's pretty good, although its success does rather hinge on the Netrebko/Villazon injection of star power; the supporting cast is less wonderful, especially Nicole Cabell's Musetta. But as far as Anna's performances on record go, personally I think it's among her best. The Russian Album still tops all for me though.

[david]

I whole heartedly agree, the Russian Album is to die for!!