Critique of Declining Artistic Standards at Ankara Opera
This opinion piece by Mehmet Rıza sharply criticizes the management and artistic quality of the Ankara Opera, arguing that the institution has lost its elite status due to leadership lacking proper opera expertise. The author contends that casting decisions are influenced by personal connections rather than merit, resulting in performances devoid of artistic value. The review highlights S. Ilayda Büyükyörük as the evening's standout talent, noting her technical mastery despite holding only a supernumerary contract, which the author deems shameful. In contrast, veteran soloists receive harsh criticism for significant technical flaws. Esin Talınlı is described as having shrieking high notes, while Feryal Türkoğlu is accused of forcing her voice and failing to improve since previous disastrous performances. The author suggests potential nepotism involving director Demet Gökalp and chief stage director Mehmet Yılmaz. Conversely, Ferda Yetişer is praised for her refined musicianship and vocal control, particularly in mezzo-soprano repertoire. The article concludes that the opera is being managed like a street troupe, urging administrators to prioritize young talent over established but declining performers to restore the institution's former prestige.
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Critique of Declining Artistic Standards at Ankara Opera
This opinion piece by Mehmet Rıza sharply criticizes the management and artistic quality of the Ankara Opera, arguing that the institution has lost its elite status due to leadership lacking proper opera expertise. The author contends that casting decisions are influenced by personal connections rather than merit, resulting in performances devoid of artistic value. The review highlights S. Ilayda Büyükyörük as the evening's standout talent, noting her technical mastery despite holding only a supernumerary contract, which the author deems shameful. In contrast, veteran soloists receive harsh criticism for significant technical flaws. Esin Talınlı is described as having shrieking high notes, while Feryal Türkoğlu is accused of forcing her voice and failing to improve since previous disastrous performances. The author suggests potential nepotism involving director Demet Gökalp and chief stage director Mehmet Yılmaz. Conversely, Ferda Yetişer is praised for her refined musicianship and vocal control, particularly in mezzo-soprano repertoire. The article concludes that the opera is being managed like a street troupe, urging administrators to prioritize young talent over established but declining performers to restore the institution's former prestige.
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