Mystery man at OBT?

[Estelle]

Alexandra, I think that your last sentence applies to the US, but perhaps not to Europe, as there have been several female directors of ballet companies: Verdy, Hightower, Lefevre (POB), Haydee (Stuttgart), Bjorn (Norwegian ballet and Finnish ballet), Terabust (Milan- Florence- Naples), Pietragalla (Marseille), Glushak (Toulouse), Samsova (Scottish ballet), Gielgud (RDB). However, except Verdy, Hightower and Haydee, all those examples are quite recent, so it could be a recent trend, and probably there are some nuances between European countries.

[Alexandra]

Verdy, Hightower and Gielgud didn't last very long, either

Forgot to say that the Grand Dame of artistic directors, of course, is Ninette De Valois, who once said that the women were good at building things, because men didn't have the patience for that, but when a company was established, it was time for the women to step aside and the men to take over.

[Mel Johnson]

Nevertheless, I must point out that championing the cause of women being considered to the highest levels of ballet management (which I do) ought not to involve the disparagement of men! This practice is insidious and invidious, and even if entered into "innocently" in quickly-written text, is unacceptable to me. I call it when I see it!

[dirac]

No disparagement of men is intended, unless any reference to sex discrimination is by definition a disparagement. I don't wish to belabor this or ruffle feathers, but I, too, will call it when I see it.

Re: de Valois, I also recall Farrell saying that a woman shouldn't run a company, it should be a man with "an impossible woman" behind him. These notions can be held by both sexes, unfortunately.

[Watermill]

Would Francia Russell of PNB then stand as the shining (American) example?

Soloist at NYCB then Ballet Mistress, then 24 years as AD of a top company and founder of a top school.

I don't think anyone else comes close, but is her accomplishment undercut at all by her co-AD being her husband Kent Stowell?

Would she have been given the opportunity on her own?

I fear not. Especially in 1977. And what a loss that would have been.

Her amazing accomplishments stand as an indictment of prejudice against women Artistic Directors. I think, however that it is an attitude that still pervades society in general.

I could be wrong, but I believe most ballet Boards of Trustees are at least half women. Remember, those women had to vote, too. And look at the appalling ratio. (And in some cases, appalling results)

Is it possible that the expansion of the job description of AD (see Alexandra's post) has resulted in a regression, a sort of slipping backwards, that has prevented the appointment of more women AD's? If the AD was less responsible for financial and admin would the ratio be different?

The symphonies place auditioners behind a screen, and just listen. The chair is given to whomever plays the best. All they know about the candidate is that they're number #35. I wish there was a "screen" for Ballet Company Artistic Directors.

Watermill

[vagansmom]

Well, I'd say that symphony conducting is probably a far worse field for women in terms of employment and glass ceilings than AD of ballet companies!

[Watermill]

Sorry...not a clear or careful analogy...I was referring to how the symphonies audition players, not conductors.

You are of course right: the musical corollary is conducting and it IS even worse!

[Alexandra]

Of course! There's REAL money in conducting

[Ed Waffle]

Simone Young has just been fired as music director of Opera Australia. She is probably the most visible and successful female opera conductor around--perhaps readers in Australia can give further insight or details regarding this. There was an official statement from OA and Ms. Young and nothing since then.

Included in her controversial, notable and successful conducting work has been stints for parts of seasons with the Vienna State Opera. The opera orchestra is drawn from the mighty Vienna Philharmonic, an organization which has kept all women from its ranks (this may have changed recently). The only women who performed with the Vienna Philharmonic, excepting, of course, soloists, were harp players. They were always free-lancers.

Sarah Caldwell created an opera company in Boston so that she could conduct. Eve Queler has done the same with the Opera Orchestra of New York. For a number of reasons, both the Boston Lyric and the OONY have presented works that have been neglected by larger companies.

There must be a few other female music directors (musn't there?) but I can't think of them now.

[vagansmom]

My high school friend, Carol Crawford, was once hailed by the NY Times as the successor to Sara Caldwell. In a NY Times article several years later on female conductors and the glass ceiling, Carol and the other women (she was considered one of the top 3 female American conductors at the time) were frustrated by their inability to penetrate that ceiling. I seem to recall that a woman's chances of success in that field was only slightly better in Europe.

Carol is now the General Director of the Tulsa Opera (and yes, that includes conducting).

[Estelle]

Originally posted by Ed Waffle

There must be a few other female music directors (musn't there?) but I can't think of them now.

Andrea Quinn at NYCB?

Also I think that Claire Gibault had some responsibilities at the Lyon Opera a few years ago.

[Ed Waffle]

Andrea Quinn--indeed. It looks from her NYCB biography that she has been conducting for the ballet since she left college.

http://www.nycballet.com/about/bio_quinnbio.html

[Mel Johnson]

And let's not forget the great Sarah Caldwell, in Boston, years ahead of her time!

[glebb]

I heard yesterday (through a Stuttgart connection) that Robert Conn was not chosen for AD at OBT.

Does anyone know if a choice has been made yet?

[Watermill]

It's between Christopher Stowell and another candidate whom I will not name as he is currently AD at another company, and I'm not sure they know he's looking around.

After last night's opening at OBT, I must say it can't happen fast enough for me.

Perhaps when I have more time, I'll wax un-poetic...

the prodigal Watermill

[glebb]

Too bad about Robert Conn.

His connections to Stuttgart might have brought in some of the smaller Cranko works that are gems.

[Watermill]

But would they have been appreciated here?

Pardon my cynicism, but Canfield has grown an audience that gives a yahooing standing ovation to a piece that ends with a ten minute hip hop solo by a non company member, while the company stands around her in the dark shining spot lights on her.

I ran up the aisle and when I got to my car, it was all I could do to not drive through the night to SF.

Obviously I didn't. But as obviously the bad taste of the whole evening lingers.

I'd better stop. As I said above: the new Artistic Director can not arrive fast enough.

I know there's a ballet audience here, but after 13 years of eccentric egomania, it will have to be grown from scratch.

And if I ever see another grand battement on a heavy downbeat...

Watermill

[LMCtech]

I'm sorry Watermill for your suffering. Hopefully you will be rewarded for your pains with a decent AD.

Incidentally, where is Mr. Canfield going?

My vote is with Christopher Stowell. I think he'd do a great job. And he's also a really nice guy. And a good teacher. And a young choreographer with potential. It might be a good fit.

[Guest Hoyt]

back to the original question...

Yes, all the candidates short-listed for Artistic Director at OBT are men. No female candidates are on the list.

They are or were:

Robert Conn

Ben Hughes

Christopher Stowell

Wes Chapman

Ben Hughes

[Mel Johnson]

They liked Ben Hughes so much, they listed him twice? Or does he have multiple personalities, and they can't decide which one to hire?;)

[Leigh Witchel]

Ben Huys?

[Mel Johnson]

Could be; the only Ben Hughes I know of is an arts administrator, but nothing to do with ballet.

[Amy Reusch]

I just realized something. (It often happens as I prattle on like this): candidates for AD should include all those Ballet Mistresses who have been toiling for years in the shadow of Messr Entrechat. From what I can tell, they often have to set or fix choreography, have close non-competitive relationships with the company, and are actually in the management chain. Why haven't more of them moved up?

Because those aren't particularly important qualifications for attracting big money donations? I wonder, what are the demographics for patrons of the regional ballet company? If you have a "glamorous" male director, does he attract more money from that 20-1 ratio of students [now matured into patrons]? Do those "Mrs & Mr" donations really mean "Mrs" drove the donation?

It seems like ballerinas rate high on the "glamour" scale, wouldn't they attract dollars from businessmen? Or are women notoriously poor negotiators when it comes to asking for money? Their salaries are usually less, perhaps it holds true in fundraising as well? Ahhh.... if only the artistic directors in the US could concentrate wholly on artistic direction decisions....

~ Amy

[glebb]

I wonder if new BA member Jan knows anything.

[Alexandra]

And the winner is......

Christopher Stowell. See the news article on today's Links threads -- thanks, Ari!