'A sorcerer's apprentice? It is really not the case that Josef Fuchs could and would single-handedly bend an entire application process to his will. That is pertinently untrue and I even find it damaging to his person.' Nina Hiddema reacts vehemently to our article On Josef Fuchs' remarkable job title, and the change in it.
Hiddema explains: 'I am somewhat unhappy with the term "deputy artistic director", because it assumes that there is also a "director of artistic affairs". That was true in the days when Nicolas Mansfield was director at the Reisopera, but that is no longer the case. The reason why I said at the press conference that Josef is the artistic director is because, in fact, it is also the case that he has been the artistic point of contact since Nicolas left. He has done that well, and he is still doing that well. We are grateful to him for that. Meanwhile, we are still working internally on the whole business structure, as well as the succession, because that has not yet been finalised.'
But what about that change on the website?
'That he was first listed on the website as artistic director, and that during that fuss that was changed to his formal job title is an annoying co-incidence. By the way, I am not on facebook. The reason I had it changed is because that is the official title, and that is not a happy title, but as long as we haven't had a final blow to it as to what the final shape of the organisation will be, it will remain as it is.'
So Josef Fuchs' suspected ambition was not the reason for Mansfield's failure to find a successor. So what was the reason?
The proceedings we had were not successful. That's not down to the Reisopera, but I can't say much else about that. Sometimes people make different choices, that's what it is. But take it from me that there was a very careful search.'
Formulate more sharply
'It is my belief that after such a development, you should not come up with a new procedure right away. When we were looking for a new editor-in-chief at Omrop Fryslan (her current employer. WS), we were also initially unsuccessful, and ended up waiting 10 months before starting a new procedure. During that time, we were able to formulate much more sharply what we wanted. And then it also succeeded. I want to do something similar with the Reisopera now.'
'I will first look with the organisation at what is the desired profile of a new director. The profile that was in place until now, which was based on how things were until now, turned out to be a profile of a sheep with a little too many legs. With five legs it is not going to survive, and even less so with six. So we should use this period to take another very critical look at that. That is also why I had the description put back on the website. You first have to know how you are going to set it up and only then can you start putting names to people. You have to determine the content first, and only then the form, and not the other way round'.
What is the deadline?
'I do want to be out before the summer.'
Does the Culture Council agree?
'We are in good contact with the Council, and they are informed. I also think there is a good artistic plan that we are following up well, including the last two years. The tricky thing is that now, after a year and a half of relative stagnation, there is a big bump to clear. But that applies to the whole sector.'
Theatre newspaper in error
'Yesterday there was an article in the Theatre Newspaper saying that the Reisopera was only going to do pocket operas. That is pertinently untrue. We are now doing two pocket operas, but in January comes Giulio Cesare, in February O.A.E. and in April we are doing Bride for Sale. It also said that there is now an artistic director with a business profile. I assume that is about me, but I am not an artistic director at all. I don't think the concerns about our artistic profile are justified.'
The Reisopera ran into trouble with the departure of Nicolas Mansfield because there was no handover and the director who left due to serious health problems had laid down few procedures. I heard this from circles around the company. How is that now?
'I am very much in favour of recording things and being clear about that. That makes it a lot easier for your successor. But that says everything about me, of course, and doesn't necessarily apply to others. When Nicolas left, it was completely unexpected. He didn't expect it himself, of course. It was never his intention to leave the Reisopera at that time, so there were no neat piles of all the papers on the important issues ready either.'
On Friday, it was announced that two members of the Supervisory Board will resign as of 1 November, Maartje van Weegen and Paul Doop. I understand from various sources that their relationship with the prematurely departed interim director Bart van Meijl was not good, and that that conflict partly led to van Meijl's quick departure. You yourself were on that council until 1 August, can you say anything about that?
'They just resign according to the retirement schedule. They did stay longer to finish the procedure, which was initially supposed to start in December 2020, but because of the lockdown could only start in May. After that, the search for their replacement started.'
'A replacement must also be found for me on the Board of Supervisors, and I have advocated that my spot be filled on staff nomination. I think contact between the Supervisory Board and staff is important and useful, as long as they don't sit in each other's seats.'
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