Boardroom intrigue at opera
Edmonton Opera looking at new management rules
Edmonton Opera heads into its 50th anniversary season this month under what board chair Irving Kipnes describes as “financial stress” that requires changes to the organization’s bylaws. But some local opera supporters fear the proposals would concentrate decisionmaking power in the hands of too few people.
A special resolution is being put forward at Tuesday’s annual general meeting proposing bylaw changes to give a small executive committee, “empowered” by the board, authority on matters including artistic programming, budgeting, finance, long-range planning, fundraising, education and community outreach. The changes would also permit the chair to make decisions on behalf of the committee, without the need to vote.
Kipnes, a philanthropist, property developer and co-founder of the Liquor Depot chain, is the opera’s current board chair. He said the “financial stress of the last two seasons” is the impetus for the changes.
“Edmonton Opera is reorganizing the bylaws so there’s a closer bond between management and oversight, which was previously lacking,” Kipnes explained. Assuming the bylaws are passed, “you’ll see in the future a lot more emphasis on fundraising and a lot less emphasis on spending,” he said.
Critics say the bylaw changes fly in the face of how an arts organization normally works because they markedly reduce the authority of board members, subscribers and donors.
“I don’t know any other organization that has the kind of board bylaws that are being proposed by Edmonton Opera,” said management consultant Gabe Shelley. He has been involved with the opera for 20 years and once served as the board’s vice-chair.
“It concentrates power. It puts power in the hands of the chair and the executive committee and it effectively neutralizes the board.”
The goal of any board is to “govern on behalf of the stakeholders, which in this case is the community of Edmonton,” Shelley said, and the best decisions are made when the most views are heard. “Having one person or a small group make all the decisions from a financial point of view doesn’t best serve the community needs.”
The company’s absence of artistic direction is also raising eyebrows. Edmonton Opera has not had an artistic director since 2011, when Brian Deedrick resigned abruptly after nine years with the company. Sandra Gajic, who previously served as general manager of the Epcor Performing Arts Centre in Calgary and with the Canadian Opera Company in Toronto, then took over as CEO of the company.
She suddenly departed, without explanation, last May, and the company has since been run by production manager Tim Yakimec, who is serving as interim business manager. Chorusmaster Michael Spassov left unexpectedly earlier this fall. In an email, he said he left to pursue his own professional opportunities.
Bob McPhee of Calgary Operasaid a lack of artistic director in any arts organization isn’t ideal but can be a necessity in the short-term. “I wouldn’t want it to last for a five-, 10-year period. That defeats the growth of the organization in artistic terms, somebody to bring a vision and have knowledge of the repertoire and artists and sets and designers and conductors.
“But that doesn’t mean you don’t go into other modes of sustaining an organization when there are certain situations facing you.”
Gajic, who now heads the Ukrainian Shumka Dancers, said having no artistic director is “highly unusual.” In the proposed bylaw changes, all references to artistic director have been struck out. But that doesn’t mean there won’t be any artistic direction, board member Richard Cook said. It only means the artistic director will report to management, instead of the board.
“We understand the need for artistic leadership,” said Cook. “We want to keep the board out of the kitchen unless it’s a financial issue.”
As to when, if at all, the company plans to put out a call for an artistic director, Cook said “the board is contemplating different options. It could be full-time, it could be contract. There may be a short-term and a long-term plan.” For now, the board will seek “outside advice” on matters such as casting.
Local composer John Estacio said the lack of an artistic director and general manager is “troubling” and he’s disappointed Edmonton Opera discontinued its new series featuring smaller Canadian operas in intimate venues. “It’s disheartening to see any company retreat from a bold vision for the future,” Estacio said by email. “But perhaps the vision was implemented too soon and too quickly.”
He said “the company is in a vulnerable state right now and requires support and patience and understanding. This is not the time for pointing fingers.
“It’s easy to speculate and play armchair quarterback but right now the community needs to rally behind their opera company.”
A spokesperson for the Canada Council, which will give Edmonton Opera $880,200 in funding over the next three years, said it doesn’t get involved in internal management issues as long as the board’s legal structure corresponds to the mandate of the organization.
Alberta Culture Minister Heather Klimchukwouldnotcomment.The Alberta Foundation for the Arts gave $279,791 to Edmonton Opera for the 2013-2014 fiscal year.
Kipnes is a major proponent of Galleria, a proposed $800-million arts centre downtown that would house Edmonton Opera and other arts groups. As to whether the feasibility of Galleria hinges on the future of the Edmonton Opera, Kipnes said no. They are “mutually exclusive but it’s nice to have both,” he said.
Any season subscriber or person who has donated $50 or more is entitled to vote at Tuesday’s meeting, which takes place at 5:30 p.m. at MacEwan University’s Alberta College campus, 10050 MacDonald Dr.