We announced it a couple of months ago, maPlatine.com is an official partner of the Rennes Opera house, a place you must visit in Rennes, the capital of Brittany, France! We have had the chance of meeting Rozenn, the managing director of the Rennes Opera house. She had the kindness of answering a few questions.
– You became the interim managing director of the Rennes opera house in the beginning of 2018. Can you tell us more about your career path with the Rennes opera house?
I arrived at the Rennes Opera house in 1996 as the public relations and communication manager. At the time, this position did not exist and we had to start from scratch, especially conquering a lyrical public in Rennes since the opera as such had only existed for 3 years. The first project I initiated was the creation of the “education” department, aimed at introducing opera to students. This department expanded over time by appealing to more and more diverse publics.
My tasks have also evolved throughout the seasons. I was in charge of development, then general secretary, a cross-functional position which coordinates all communication and public development tasks, with a very important digital and innovative dimension in Rennes.
Since the beginning of the year, I am indeed interim managing director of the Rennes Opera house. A study on a partnership between the Anger-Nantes Opera house and the Rennes Opera house was ongoing, knowing that the former managing director of the Rennes Opera house was named managing director of the Nantes Opera house on January 1st 2018. The city of Rennes wished to confirm the terms of this partnership before appointing a new managing director. It was since agreed upon that the partnership between the three Opera houses is based on the sharing of the lyrical production and broadcasting. We await today for a new managing director to be appointed at the Rennes Opera house. (Editor’s note: since this interview was made, Matthieu Rietzler was appointed the new managing director of the Rennes Opera house and will take his duty at the beginning of the 2018/2019 season).
– Have you always wanted to work in the musical and cultural field?
As early as my studies in political sciences, I was attracted by the cultural field. I was able to complete all my internships and research studies in this field. I had the chance of finding my first job in an Opera house in Compiègne, France. This strongly influenced the rest of my exclusively opera career for the moment.
– The Rennes opera house is very attached to innovation and new technologies. Which ones have impacted you the most?
Among the most remarkable achievements, we can mention the project we set up with Orange in 2009. Don Giovanni captured and broadcasted live and in 3D. It was a first worldwide, and this event truly was a trigger which enabled us to position ourselves as an opera at the cutting edge of innovation.
In 2011, we put in place an experimental program which left a lasting impression. It was a season of operas diffused in virtual worlds via a 3D model of the Opera. “Avatar” spectators from all over the world could register, follow the broadcasts and exchange their thoughts live. The communication around this “opera bis” was made possible thanks to a cross-media campaign on social networks, another first at the time for an Opera house. This enabled us, as of 2011, to establish a very powerful digital identity.
Another striking innovation, in my opinion, was the virtual visit of the Rennes Opera house, developed by Artefacto. It is a great mediation digital tool available in self-service through the ticket office. This visit enables the public to discover the opera house in 360 degrees in a couple of minutes. The app can be downloaded from our website.
– What do these new technologies bring to the Rennes opera house?
This brings us an innovating image, an image rarely associated with the Opera world. We are now recognized countrywide, even worldwide for our creativity. This shines a light on the Opera house and the city of Rennes. But above all, this opens us to a new public, perhaps younger, that discovers Opera through the prism of digital projects. It is an inquiring public. This public will be attracted by our digital projects but may also want to push the doors of the Opera house: it is an extension of our mediation work. Innovation brings a new perspective on Opera.
Our innovations have also strongly influenced our way of communicating via social networks. Social networks enable us to place the communities at the heart of the creative process. We regularly post videos of rehearsals, interviews, pictures, information on workshops, meetings, games… I mentioned earlier our digital identity which ranks us among the leading Opera houses in terms of presence on social networks. We are not very far away from the Paris Opera house in terms of followers and we are quite proud! We had the most retweeted tweet in France on the day of the broadcasting of Carmen on screen(s) last June.
– At the beginning of the year, the Rennes opera house was at the CS in Las Vegas, the largest fair in the world dedicated to new technologies. How was this experience?
We were invited by the company ESI Group with who we developed an immersive opera in 3D. They often go to the CES to showcase their latest innovations. We were of course very happy to come along with them and find ourselves with the leaders in innovation. We were the only cultural organization there and we were proud to represent the beautiful dynamics of the Rennes territory.
– Almost a year today, you were broadcasting an open air opera, “Carmen on screen(s)”, can you tell us if a new edition is in preparation? Are there new projects in the months to come?
Yes of course, we organize this broadcast every two years and there will be a new project in Rennes in 2019. The fact that we are partners with the Angers-Nantes Opera house means that the event will expand to the Pays de la Loire region.
We are also working on an educational game at the moment. The urge is still there. We must “simply” make it succeed and find partners to help us. Up until now, we have been able to work with several partners from the territory and I believe that this dynamic will continue.
– Can you quickly explain how the Rennes opera house makes its programming?
In the Opera world, you should know that the programming is finalized two years ahead of the season because the stage director and singers have a very busy schedule. Moreover, several shows are co-produced with other Opera houses which implies a long term coordination between the objectives and the resources of each Opera house.
Furthermore, the programming must always reflect the entire history of the Opera and establish a balance between known and less known musical pieces of the repertoire, between time periods, languages, and styles. It is necessary to be capable of leaving a place for creation with the desire to bring the public towards contemporary or propositions they would not necessarily go for. With the constant concern of offering a quality programming, making room for the imaginary, with a place left for the spectacular, which is the trademark of the Opera. It really is a combination of all this which makes the programming of a lyrical season.
The driving force that motivates us remains the concern of opening the Opera house to a broader public and breaking all of the clichés. The opera has to be accessible to everyone (members, occasional spectators, new audiences); it is not necessary to be a music lover to be emotionally and aesthetically chocked. It is rare that a spectator remains indifferent. And to go even further in the pleasure and the discovery, it is essential to open the Opera house, to make discover its trades, its know-how, and obviously its repertoire.
– What is your favorite opera?
Orphée et Eurydice from Gluck. It is an absolutely luminous music, with tunes that literally transport me. The libretto is extremely well constructed, with a pure tragedy that holds in suspense. I enjoy listening to it again and again, I never get tired of it. If I had to bring a record on a desert island, it would be this one.
– Are you a vinyl enthusiast? 🙂
Absolutely, we have always had vinyl records at home, more rock than opera by the way. I really like vinyl records, they bring something else to music and sound. It is necessary to concentrate, change the face of the vinyl record, carefully handle it, and the covers are magnificent. We started buying them in street markets and then throughout time, we bought more vinyl records than CDs. Despite the fact that we are subscribed to a download service, but we still regularly buy vinyl records. It is a beautiful object that is part of our daily life.