sparrow, do not go ...
Enrico Celestino
Foreword. As you may know the writer is fair Neapolitan origin, and very superstitious. Therefore, even in the face interviews recently released by Maestro Tutino, the speech I am doing I accompany it with apotropaic gestures that you can easily imagine.
We will make the modest, not at all arrogant, consistency of thought, the formal correctness and substantial time in labor relations, as well as in management decisions, the immediate sympathy in personal relationships that comes from the spontaneous to equate the interlocutor, the contractual compliance with the rules of the dignity of professional musicians, the courage to get involved always the first person recognizing another the right to criticize.
There will be exactly as we have missed since his arrival in Bologna.
None of this fact, we have been privileged to see, not for merely made good use of his company but for the sake of the Teatro Comunale di Bologna.
We would like a personal memoir.
At the first meeting with the first parts of his office, he began by saying that the first thing to do per ridare lustro al Teatro Comunale ( probabilmente quello perso partecipando con successo ai maggiori festival europei ) sarebbe stata quella di riformare l’ufficio stampa e il marketing e lo sottolineò con un gesto inequivocabile: prendendo in mano un programma di sala come fosse una lisca di pesce da un cassonetto dei rifiuti.
Ricordiamo, giusto per rendere l’idea, quando, per scoraggiare l’adesione ad uno sciopero, decise in combutta con l’allora Sindaco Cofferati, di avvalersi dell’obsoleto e controverso articolo 1256 del Codice Civile, riguardante l’irricevibilità della performance and is not satisfied, he gave prior, threatening warning to employees, obtaining a conviction in the first and second degree, for him and his companion, to conduct anti-union.
Or you may recall the genesis (and below) of the notorious School of the Opera, which is active (!) Just a year and a half before he was born with a regular Statute (shown by the quotations on posters of the Teatro Comunale), who despite being a private association, use 'men and means' of Hall and even got loans to (450,000 €) by Cassa di Risparmio di Bologna, at the same time the City denied them because of conflicts between employees and the same Tutino (President of the School of the Opera). It was, ours, conflict of interest? Who knows.
All this, plus the impressive budget deficit in part due to its inadequate if only formally (there are specific training or experience in the management field Tutino) passes in second floor, in our view, compared with systematic, scientific, cynical sabotage from the inside of artistic prestige of the Teatro Comunale in Bologna, obtained through the indiscriminate promotion of his 'pupils of the Opera' in place, not the big names of opera, but even professional singers and directors, and then depressed the daily work of an orchestra and a chorus that at least deserve to continue to perform in environments of high-level as prior to the unfortunate 'Tutino management'.
In more than twenty years of Hall, with each change of Superintendent, we almost always had, unexpectedly, regret 'stinker' on duty.
Groucho Marx said: "I never forget a face but in your case I will make an exception!"
Here, in the case of Tutino, we will make an exception.
Prof. Enrico Celestino
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