Dear anonymous comments or not, are quite puzzled by the venom
(and passion) of certain comments ... it is clear that the controversial institution is our theater provokes strong feelings ....
Who speaks to you live and work there for over a decade and has witnessed the "partial" transition from the time of fat cows and the widespread wrongdoing, with the current, more pulitini and grayer, but still not sure what we would like.
I can not agree, however, some statements that, with all my critical attitude towards the institution, I find mystifying.
It 'easy to hurl accusations without generic qualify, it is less easy to argue with concrete examples and perhaps first and last names ... In my daily experience, people who work at the Rome Opera is prepared for the most part, even professionally in place with peaks of great excellence, honest, loving your work.
Then there is the minority, a minority of loud, arrogant, overbearing and powerful, which belongs to certain people, in some cases long-time trade unionists, with external links that pass through the history of the theater for decades, and which do not give up easily circuits that have allowed and still allow, albeit in very small proportion compared to the past, the personal enrichment of a few.
These domes, small enclave that you sell the rights of others for a dish of lentils, are permitted under management politic in the theaters.
I defy anyone to deny that the same situation is found in each of the thirteen foundations Italian opera and symphonic.
The responsibilities of local politics in the breakdown of Italian opera houses, are very direct and very serious ..... meditate before throwing the blame he who has always complained, to no avail, what is now used to turn the omelette on the his own head. The blame is never on one side, of course, but at this rate we will soon no longer who started and who should pay: ergo, they will pay those who are weaker and attacked. And the mafia will thrive for years to come ...
