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The Speight Age (and after) at Seattle Opera

Speight Jenkins, who has creatively shaped Seattle Opera for 29 years, will retire in 2014. What might his successor look like?
Speight Jenkins, general director of Seattle Opera. (Seattle Opera)

Speight Jenkins, general director of Seattle Opera. (Seattle Opera) None

Two years hence, on August 31, 2014, will come a very big day in Seattle’s cultural history. That’s the last day of work for Speight Jenkins, general director of Seattle Opera for the past 29 years.  Jenkins, above all but hardly alone, has put Seattle on the national artistic map. His achievement, and it is very much the result of one man’s total commitment to a very difficult cause in such a smallish city, is extraordinary. He will be no easy person to replace.

The succession plan, long in the works, does not come at a propitious time. The recession continues. Opera companies around the nation are running scared, with good reason when you consider the costs of this extravagant, 400-year-old art form. Seattle Opera has plenty of  financial challenges.

In Seattle, it’s a “Twilight of the Gods” period with major artistic successions at the Ballet, the Symphony, Intiman, Meany Hall, Seattle Art Museum, the Frye Art Museum, the Henry Art Gallery, ArtsFund, Seattle Rep, Cornish, Seattle Office of Arts and Cultural Affairs … you name it. All this challenges boards, donors, and audiences as they settle into new programming, new personalities.

None bigger, in my view, and none riskier than at the Opera. So here's a report on the succession, and a look at how Jenkins managed to create one of the leading opera companies in the world out of the crooked timber of Seattle’s musical scene.

Earlier this month, the New York Times published an article on the “saddening” landscape of American opera companies. The poster child of this distress, in the article, was Seattle Opera, whose situation was said to be “among the most acute.”

That’s probably an overstatement. But the Opera had somewhat asked for this kind of negative publicity when it went public with its problems about a month ago. It announced a rare deficit for the fiscal year just ending of a bit under $1 million. An expensive production of Wagner’s Meistersinger,  which would have been Jenkins' farewell production, was canceled. The Young Artists program, training young singers in full productions, was put on indefinite hiatus.  The 2013-14 season  (Jenkins’ last season) will have one fewer production, as will 2014-15; and the current season will endure another 10 percent cut in costs.

Jenkins, in an interview, puts his usual positive spin on the situation. Rather than accumulate debt, as the Symphony has done for the past four years, the Opera will cut costs, raise more money, and hopefully retire the 2012 debt before Jenkins’ successor takes the reins in 2014. The plan is to name the new general director by next spring, so she or he can witness the rehearsals and performances of Seattle Opera’s touchstone production of Wagner’s Ring next summer.

After all, Jenkins reports, the Opera has had only one deficit year in the past 18, and that one, in 2005, was only $278,000 and it was repaid in a year.  Opera has the advantage that it can twirl the dials of expenses – how many star singers, imported productions versus original shows, avoiding use of chorus, etc. – far more easily than other art forms.  And, as the Times article reports, many opera companies are mounting more sure-fire, familiar fare, much as Seattle has done in the past few years, heavy on Verdi and Puccini.

Not to worry, then? Alas, looked at long term, one finds that Seattle Opera has not just one shortfall year to weather this year but chronic, structural problems that began seven years ago and extend, according to board chair John Nesholm, “a couple years” into the future.

The Opera’s board chairman, architect and philanthropist Nesholm, who is also chairing the search committee for the next director, explains that in 2005 the board realized that expenses were starting to rise faster than revenues. The company launched a "Campaign for Seattle Opera,” hoping to raise about $32 million to attack the structural problems.  It went well, until it ran into the recession in 2008.


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Comments:

Posted Thu, Aug 23, 12:33 p.m. Inappropriate

A thoughtful piece. I've been to opera houses over the world. Few can match the consistent quality of Seattle Opera productions, especially in the orchestra, chorus, and "minor" singer roles. Speight is a phenomenon.There he is at every performance, greeting concertgoers as they come in, picking up paper that has fallen on the floor, helping people to their seats, answering questions after the performance, hosting the radio broadcast, and zillion other things. How can one person maintain such enthusiasm. Most notable is his picking young singers before they hit stardom. (Prediction: Grazia Doronzio, the Liu in Turandot's silver cast, will hit the big time.)
To stay within budget, I would strive to maintain the quality of the music, but reduce production costs. Who needs the mechanical dragon in Siegfried that is said to have cost over $1 million? Not that they are in any way comparable, but attending performances of the Vashon Opera have been satisfying and instructive. Last spring, for example, the company put on Eugene Oneigin (Eugene Oneigin!!!!) with an orchestra of about 12, and scant scenery. But the singing was terrific.
No, there will never be another Speight Jenkins. But the Seattle Opera it too good to fall from the reputation it has attained.
Abe Bergman

Posted Sat, Sep 1, 2:59 p.m. Inappropriate

One of the x-factors in the perilous world of opera economics is the impact of the Metropolitan Opera's live HD telecasts to movie theaters. It would appear that these telecasts on Saturdays are cutting into local companies' attendance where those companies are small or semi-professional. The jury is out for high-level companies like Seattle Opera. Few seem to credit the Met's claim that it is building opera audiences, who then flow to local performances. Still, I expect this new development will produce downward pressure on ticket prices for live opera.

The longer-term effects are also disturbing, as audiences become attuned to closeups, star interviews during intermission, and other intensifying devices in these telecasts. If companies themselves start telecasting, even if only to large audiences outdoors or nearby, that could further skew performances where the singers are very conscious of the camera and how they look, and less conscious of the sound being produced in the opera house. Directors too may feel the pressure.

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