As Sören Tranberg discloses in no.3/2013 of Swedish magazine OPERA, it seems as there will be no new artistic leader chosen for Sweden's world-famous, miraculously well-preserved 18th century Drottningholm Court Theatre. According to Tranberg, "an artistic committee" under the leadership of the managing director since two years, Sofi Lerström, is supposed to take care of future summer opera seasons. "Is this really a practicable solution?" asks Tranberg. "Shouldn't an enthusiastic and charismatic artistic leader be found, one with baroque performances as his/her specialty?"
Of course. As any other arts institution, the Drottningholm Court Theatre needs a strong artistic leadership with both a personal vision and, in this case, vast knowledge of the historic field in which the Court Theatre is supposed to work. And this artistic leader - it can be a conductor, a director, a choreographer or a former singer/actor/dancer - should be supported, not ruled over, by an efficient managing director. If the personal vision should happen to be very personal, this only makes the operations more interesting to an audience and is easily made up for when, after four or six years, a new artistic leader is chosen. To let a committee - however well put together of any number of knowledgeable and well-meaning people - take on the artistic leadership of a world heritage which in all its activities must be animated by great imagination and deep understanding of its uniqueness but also with a strong, perhaps even ideosyncratic, artistic temperament, that is just silly.
When Tranberg goes on to summarize the artistic and other results of recent seasons at the Court Theatre, in many ways echoing other increasingly worried voices from critics, audiences and professionals in Swedish opera and ballet, one might add: not only unwise but dangerous.