White paper on creativity - ebla center

Chapter 13Figure 13.2 highlights how the costs ofthe permanently employed artists,technical and administrative staff are thelargest item in opera-orchestrafoundation spending in 2006. Thus forexample, for the Teatro dell'Opera andthe Accademia Nazionale di SantaCecilia in Rome and the TeatroPetruzzelli in Bari, this item accounts forover 70% of total costs. The remainingcosts were aggregated in the item“production costs”, comprising expensesfor services, materials and goods,obtained by subtracting the personnelcosts from the total costs.A possible solution to the restraints onthe budgets of opera producers, whichoften prevent the necessary flexibility inthe use of human resources, can comefrom the creation of independentcompanies employing the orchestras andchoruses. Their collaboration with theopera producer would thus be based ona renewable contract for services, takinginto account the continuous nature ofservices.In this case, the orchestras and chorusesare induced to operate alongentrepreneurial lines, expanding theirown markets for concert activities (alsowith chamber groups and medium-sizedensembles). The opera producer(foundation, regional or cityadministration) would have less financialrestraints with self-evident spin-offs inthe planning and creative spheres. Fromthis specific point of view, the greatlavishness of the opera seasons couldgradually be replaced by a mixed system,based mainly on repertory but tending tofocus interest through festivals and otherevents in which the innovative elementsand creativity of the composers andmusicians is highlighted.The most convincing results, also ininternational terms, come from theRossini Opera Festival in Pesaro(founded in 1980). In this case therigorous interpretation of Rossini operasare associated with highly creativeproductions, thus suggesting thatfestivals are an effective way ofstimulating and encouraging the creativeskills in the wide sector of opera. Inaddition to this, there is a need tostrengthen the educational structure ofopera, currently consisting of a twofoldsystem in the conservatories (see belowfor a detailed analysis) and competitions,which can often lead to the productionof an opera, as happens in competitionsat the Teatro Lirico Sperimentale “A.Belli” in Spoleto. There is also anundergrowth of a variety of schools andprivate courses of varying quality andeffectiveness which are the “unofficial”source of opera training and in somecases can give artists the opportunity toenter the labour market thanks tonetworking between teachers (practisingand retired opera singers), and the operahouses.WHITE PAPER ON CREATIVITY 306