Publication: Gestión artística y empresa informativa: el reflejo en la prensa especializada del trabajo de Gerard Mortier al frente del Teatro Real de Madrid
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2020-02-10
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Universidad Complutense de Madrid
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Abstract
Durante el lustro comprendido entre 2010 y 2014, ambos inclusive, el gestor de teatros de ópera Gerard Mortier estuvo al frente del Teatro Real de Madrid, primero como director artístico y posteriormente como asesor artístico, hasta su muerte en marzo del citado año 2014. En dichos años, Mortier expuso su personalísima visión de cómo ha de ser gestionado un teatro de ópera en todos sus aspectos, desde el modelo de abonos hasta la política de producciones propias, pasando, por supuesto por cuanto se trata de un recinto artístico, por la programación de cada una de las temporadas. La relación de Mortier con los medios de comunicación, en general, y con la prensa especializada, en particular, fue amplia y llena de matices, por el carácter mediático del gestor, y también estuvo llena de disensiones, por los diferentes planteamientos artísticos de Mortier, y por cómo los medios de comunicación fueron capaces de aceptar y/o enfrentar sus propias concepciones a aquellas que planteaba Mortier. 5 años después del fallecimiento de Mortier, basta teclear su nombre en Google y ver el casi medio millón de resultados que éste genera para darse cuenta de que la resonancia mediática que generó -considerando que estamos ante un gestor de música clásica, y no ante un reconocido intérprete de géneros musicales más populares- sigue estando plenamente vigente, y justifica la elaboración de un trabajo de investigación sobre Mortier, el primero que se lleva a cabo alrededor de su estancia en España. Al final de éste, se podrá comprender mejor la evolución de la opinión hacia Gerard Mortier, desde la ilusión por el rupturismo que su figura supuso, pasando por la disensión hacia muchos de sus postulados, que acabaría llevando a la, en muchos casos, exposición abierta de la necesidad de volver a tener otro tipo de gestor al frente del Teatro Real. Y se podrá comprender, igualmente, al analizar el impacto mediático con motivo de su fallecimiento, el gran legado que figuras como la de Gerard Mortier dejan en el mundo de la ópera, al haber sido capaces de remover los planteamientos clásicos de este género musical con el ánimo de conseguir que salga de ese reducto minoritario que es a dia de hoy.
During the five years that run between 2010 and 2014, both of them included, opera manager Gerard Mortier headed the Teatro Real in Madrid, first as artistic director and later as artistic adviser until his death in March 2014. In those years, Mortier presented his personal vision of how an opera house should be managed in all its aspects, from the model of ticketing to the policy related to own productions, and, of course as we are apeaking about an artistic venue, about the programming of each of the seasons. The relation of Mortier with the mass media in general and with the specialized press in particular was wide and full of nuances, because of the mediatic character of the manager, and was full of dissensions, because of the different artistic approach of Mortier, and of how the mass media were able to accept and / or face their own conceptions to those presented by Gerard Mortier. 5 years after the death of Mortier, just by typing his name in Google and seeing the almost half a million results that he generates, we are able to realize that the media coverage generated -considering that he was a classical music manager, not a recognized interpreter of more popular musical genres- remains fully in force, and justifies the development of a thesis work on Mortier, the first takes around his stay in Spain. At the end of it, you will better understand the evolution of opinion towards Gerard Mortier, from the illusion that his rupturistic figure generated, through the dissension to many of his principles, which would eventually lead to, in many cases, an open exposure on the need to return to another type of manager in front of the Teatro Real. And it will also allow us to understand, analyzing the media coverage on the occasion of his death, the great legacy that figures like Gerard Mortier left in the world of opera, having been able to remove the classical approaches to this musical genre with the clear intention on removing it from the minor reduct that has today.
During the five years that run between 2010 and 2014, both of them included, opera manager Gerard Mortier headed the Teatro Real in Madrid, first as artistic director and later as artistic adviser until his death in March 2014. In those years, Mortier presented his personal vision of how an opera house should be managed in all its aspects, from the model of ticketing to the policy related to own productions, and, of course as we are apeaking about an artistic venue, about the programming of each of the seasons. The relation of Mortier with the mass media in general and with the specialized press in particular was wide and full of nuances, because of the mediatic character of the manager, and was full of dissensions, because of the different artistic approach of Mortier, and of how the mass media were able to accept and / or face their own conceptions to those presented by Gerard Mortier. 5 years after the death of Mortier, just by typing his name in Google and seeing the almost half a million results that he generates, we are able to realize that the media coverage generated -considering that he was a classical music manager, not a recognized interpreter of more popular musical genres- remains fully in force, and justifies the development of a thesis work on Mortier, the first takes around his stay in Spain. At the end of it, you will better understand the evolution of opinion towards Gerard Mortier, from the illusion that his rupturistic figure generated, through the dissension to many of his principles, which would eventually lead to, in many cases, an open exposure on the need to return to another type of manager in front of the Teatro Real. And it will also allow us to understand, analyzing the media coverage on the occasion of his death, the great legacy that figures like Gerard Mortier left in the world of opera, having been able to remove the classical approaches to this musical genre with the clear intention on removing it from the minor reduct that has today.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 15/11/2019