Of all the way or otherwise affected during the pandemic, the major European theatres especially salty had the Paris Opera house. Barely celebrating its 350 anniversary, she joined one of the most difficult periods in its history — no performances, no money and no certainty with the management: the outgoing intendant stéphane Lissner prematurely leaving the Opera in the end of 2020, and comes Alexander the Nave — at the moment is bound by the obligations in Toronto until the summer of 2021. With details from Paris Maria Sidelnikova.Quartermasters change perepravit last year at the Paris Opera had to undergo all the troubles at once. The unprecedented length of the strike against pension reform completely paralyzed the work of the main French theatre from December 2019. The war with the unions the management of the Opera and the government invariably lose. In February, the performances somehow resumed, and it seemed that the worst is over, but erupted in March pandemic COVID-19 and the theater was closed indefinitely.Certainty made by the Director, stéphane Lissner. In early June, in an interview with the newspaper Le Monde he stated that the budget hole of €40 million that the Opera was brought to its knees and it is possible that by the end of 2020, its working capital will be exhausted. According to him, the economic situation requires radical, immediate decisions that will have serious social consequences, and accept them for the future Director Alexander Nave (“the Board must be one leader”), so himself, Mr. Lissner gives way and goes for six months before the end of his contract in December 2020 is Aug 2021.However, now Stefan Lissner not just officially presented on the website of the Opera house San Carlo in Naples as acting General Manager and artistic Director, but with his characteristic energy building plans. So, at the end of July will be a great Opera open air with the participation of Anna Netrebko and Yusif Eyvazov Jonas Kaufmann.The decision of Lissner has caused mixed reactions and was a surprise even for his successor — at least so Alexander Nave spoke in an interview with the newspaper Le Figaro. The canadian Opera in Toronto, which he directs since 2008, has not yet announced who will replace him (in June the right candidate looking). “There was no decision on the departure of Alexander Nave from the Canadian Opera until his contract expires in July 2021,”— said in a communiqué from Toronto.But in Paris, it seems that this issue has been considered closed. Frank Rester, the former at that time the Minister of culture, instructed Alexander Nave already from 1 July inventory of the Paris Opera and the autumn to prepare “program to maintain the prestige and grandeur of Opera de Paris, the basis of which there should be new economic, social and organSalona model of the theater.”Union getorganizationid that the financial issues of the Paris Opera today is concerned with the Ministry most. No public theatre in France does not receive such subsidies. From €228 million annual budget of €95 million received from the Ministry of culture is 45%. And it is unclear how the current crisis will affect the public funding of Opera. One hope for the new Minister of culture — big fan of Opera and multi-year spectator of the Paris Opera by roselyne Bachelot. It is also clear that the choice of Alexander Nave — and his candidacy claimed personally by the President Emmanuel macron — has been made largely on the basis of his skills of working with the private sector, philanthropists and the General public. In Canada, unlike France and from Europe in General, the theatres are operating on the American model, that is, earn yourself. Mr. Nave already stated, that it would be good to think in this direction.Revolutions new artistic Director is not planning — it is not in its German character. It is for “evolution”. Speaking about the economic measures, Alexander Nave reflects, for example, about how to extend the life of the play, that he lived not ten premieres, and many years in the repertoire. He stated and the idea of recreating the full troupe on the basis of the Paris Opera, not to make one-time contracts, and have their French singers, devotees of the theatre. If the principle Stefan Lissner was “the more you spend on new productions — the more you earn”, Alexander Nave, it seems, thinks more in the direction of optimization. Even if it is contrary to the usual scheme of the existence of a Western Opera industry.However, without changes in the social model of functioning of the Paris Opera all these measures — futile efforts. By the way, when Mr. Lissner Opera too good money — and the occupancy of the halls was 92%, and programs for patrons for every taste, but all this did not prevent the theater from the stalemate position in which he was by the efforts of trade unions. “In Opera, there are organizations that oppose all forms of governance that, thinking that they protect the interests of employees, jeopardize the entire work of the theatre. This endless blackmail, when half an hour before the show unclear, the curtain rises or not, it has nothing to do with our work in any way,” said Stefan Lissner in an interview, speaking about the disruption (we have to admit formally legal) performances during the December strike. Meanwhile, to build a dialogue with representatives of all trade unions (in the Opera there are several, now came to power the most radical and intractable, and it is necessary to negotiate with each and every step from collecting decorations in excess of the established norm, to singing in the prone position at the whim of the Director, because it is thon the matter of the choir to sing, and all the rest — by arrangement) was his main idea when he assumed the post in 2014. But the tactics of negotiations, apparently, does not work. What works — have to solve Alexander Nave, and as soon as possible: President Makron did not intend to abandon the pension reform, this means that Opera may at any time again to take to the streets instead of the stage.Far dancing playza all organizational and financial problems, the creative part of the Directors ‘ liabilities future commissary now withdrew into the background, although there are worries enough. Home — in the shortest possible time to find the music Director and chief conductor. Holding this position since 2009 Philip Jordan from September 1 goes to the Opera, and the replacement of the outgoing Director was not looking for: it is not to work with him. Did not Mr. Lissner to plan for his successor and the season 2021/22, so now Alexander Nave will not only save the second half of the season 2020/21, but also to prepare the future.Against this background, the Paris Opera ballet looks like a safe haven. Judging by the fact that Aurelie DuPont is already making plans for 2022-2023 years, her position at the head of the ballet strong as ever. About the dissatisfaction of the troupe style of its leadership and accusations of moral harassment two years ago, no one remembers. Artists in one voice say that today the main thing — to hurry back to the stage. Another question — what do they have to dance what part of the already reduced budget will go to the ballet and will this be enough for a world premiere staged by major international choreographers, who for many years was the brand of the Paris Opera.Today, both theatre’s closed for renovations. Planned work to bring back to normal stage equipment was to begin in the offseason in the summer of 2021, but was moved — at least in some health situation was on hand. Full artistic power Opera Bastille will earn at the end of November, when there will show “La Traviata” by Verdi directed by Simon stone. In December will take the baton of the ballet company — the first big ballet will be “La Bayadere” by Minkus in the version of Rudolf Nureyev. And Opera Garnier due to open on 6 January 2021 tour of the Belgian company Peeping Tom with the new version of the last productions of its founders and chubrukov Gabriela Carrizo and Franck Chartier “Diptych: the Missing Door, the Lost Room,” which premiered against all viruses, was held recently in Barcelona.But ballet dancers of the Opera are not going to sit around all fall. At their disposal, still have the front half of the stage (luckily the repair works affect mainly the backstage area and equipment), and a hypothetical audience — room in the hall, so Aurelie DuPont is now preparing a “crisis management” program of one-act plays, PA-de-de, solos and even promised to produce the premiere production of “renowned choreographer.” What it is — not yet said. Returned to the Billboard and charity gala, which traditionally open the season at the Paris Opera. Given the financial state of the theatre, it cannot be cancelled. On the official website of Opera, he is scheduled for September 22. The program is a win-win, for the sake of all tastes: three whales hit three ballet — classical, neo-classical and contemporary dance (“Grand pas classique” to the music of Auber, “In the night” by Jerome Robbins and “The Seasons’ Canon” crystal Payt) — and the crown of parade of all the forces of the ballet of the Paris Opera, from students to cole de la danse to Etoile company. However, according to “Kommersant”, the gala will not be until the end of 2020, i.e. until the end of the repair stage Opera Garnier. And if everything is in order, it will be moved to January. In 2019 gala brought Opera 1.2 million euros. Whether patrons once again so generous — a big question. Donations have already shrunk by a third, 35-45% down sale of season tickets for next season. And, according to Stephen Lissner, it is not only the General economic situation, but also in private disappointments — to keep the hostage of the audience for two months the strike was not the most far-sighted tactics of the trade unions.