Amal Choucri Catta speaks with , director of Cairo Opera House's lyric department is not in need of any kind of introduction: he is one of Egypt's most famous personalities in the world of performing arts. Cairo Opera's first tenor for many years, he has been an ambassador for opera since he began his international career in 1969 and has toured in Europe, Asia and the Americas. Later his career expanded to encompass film and TV. He is also director of the lyric department of Cairo Opera Company, dedicating much of his time to the promotion of opera in Egypt. When asked why certain operas, such as Cavalleria Rusticana and I Pagliacci are repeated at short intervals, while others, like La Traviata are announced only to be cancelled, explains that " Cavalleria and Pagliacci were not featured in the same season. They were premiered at the end of last season and repeated at the beginning of the following one. If the premiere of a new opera production does not receive the public attention it seems to deserve we believe it needs to be repeated, so as to enable us to decide whether we should pursue the performances or submit the work to certain changes, or whether it should be abandoned. That was the case of Cavalleria and Pagliacci. With La Traviata, we would have liked to present the opera when it was announced but unfortunately we had budgetary problems and therefore decided to postpone the performances to a later date, planning to present it the following season in a new production. "This past season coincided with the World Cup. With everybody's concentration aimed at football, La Traviata would have been neglected, so we took the decision to delay it till the coming season. The production involves close cooperation between Rome Opera and Opera Business in Japan. When the Japanese went to Rome, asking to buy La Traviata, the Romans told them they wanted 100,000 Euros per performance. Maurizio di Mattia, senior director of Rome Opera and a friend of mine -- we worked together several times -- asked me what we would require per performance should Rome lease its production of La Traviata to Japan. I discussed the matter with Abdel-Moneim Kamel, chair of Cairo Opera House, and with the responsible managers, and we came up with 50,000 Euros per performance, provided we had a cast and stage director, as well as a conductor accepted by Japan. We took these three conditions into consideration before agreeing to include La Traviata in the coming season. The Italians decided to subsidise the production to a large extent, covering the fees of the singers, the conductor and the stage director. We want to present a dignified Traviata, at the same time allowing Cairo Opera to go international with the local company." And what of Walid Aouni's eccentric vision of Don Giovanni, which has already been presented twice? "When it was requested that Walid Aouni direct an opera I accepted. Aouni directs the Modern Dance Theatre Company and staged an opera several years ago. He has directed huge official celebrations and also comes up with interesting concepts, with innovative costumes and sets. Don Giovanni was his vision and I believe every stage director is entitled to his vision. I must say that his production was appreciated by many viewers and we were happy to present a new vision of Mozart's Don Giovanni to celebrate the 250th anniversary of the composer, who is among the most popular in Egypt. I had said to myself if I succeed this year to come out with an opera in Arabic, a new production directed by someone willing to experiment, if I succeed in showing the world that Cairo Opera is participating in the world's celebrations for Mozart, then I would count it a success. No one can please everybody. If we can please 60 per cent of our audiences I believe it a success. "Also, past policy, where an opera is staged for several nights in a row then shelved, then dusted down for the next season when it is staged for another four or five consecutive nights, does not constitute a particularly efficient stage or marketing regimen. Sometimes people are not in town to see the opera during its run and therefore have to wait for the next season. Other opera houses present different performances for two nights then repeat them for another couple of nights during the same season. It is a strategy that the Cairo Opera House should adopt. "The season's new productions include The Merry Widow, planned for May, Miramar, as well as La Traviata at the end of the season. There will be six performances of each. There will also be a number of performances in the Small Hall, including La serva padrona and a puppet show as well as a new work for the small stage. "There are those who say I am 65 and still sitting on the belly of the opera company. Is there no one else to direct the Cairo Opera Company, they ask. The company has a lot of problems, and cannot administer itself. I have talked to other people about taking the helm but without success. Singers are difficult, it's no secret, and the administration of an opera company invariably fraught. But for the time being I'm here and I'll remain as long as I am needed..."
