Author: JC Agid

JC Agid is the founder of 37EAST, a brand strategy and business development agency based in the United States. He is also a trustee on the advisory boards of the American Friends of the Paris Opera and of LeaderXXchange.

A Midsummer Dream in France

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A Midsummer Dream in France
English edited by Delphine Schrank
French Version via Le Petit Journal

For some of us this summer, France is calling, and we may even experience the mysterious sense of a first encounter. Yet for many others, France remains a distant dream and desire, an aching absence after so many months. 

So, allow me to share with you my ideal vacation, the sum of multiple experiences: cultural, artistic, gastronomic, and oenological in historical and natural places. Together these make France one of the most varied, envied, and marveled-at countries in the world. I dream above all of sharing those experiences with family, a family of chosen friends, day after day.

So, come along this epistolary journey: a night in Versailles at Alain Ducasse’s newest hotel, an invitation to deep thought and conversation at the Napoleons in Arles, the magic of music in La Roque d’Anthéron, entertainment at the Festival de Ramatuelle, a breath of oxygen (and greed) atop Chamonix, and a glass of champagne in Reims to toast an exhibition with the seductive title, “Blooming.”

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Let’s Make New York Sexy Again

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Let’s Make New York Sexy Again
A French Version of this article was published by Le Petit Journal | Click Here

It felt like a never-ending story. We lived in cramped apartments, unsuited to a life of confinement, kids went to school in their bedrooms while adults adapted to remote working (how often with roommates in the next room?), exercising in our living rooms, sometimes if it only meant pushing around the sofas and other furniture. If we were lucky enough to have internet access, we could shop for our groceries online. And through the windows, as the city skies grew lighter each day, out on the streets, the cars became scarce. An unusual silence descended on New York.

The Covid-19 pandemic has exposed all the flaws of the urban model, says Saint-Gobain Chairman Pierre-André de Chalendar in his book The Urban Challenge (Odile Jacob).

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The New Audience of the Paris Opera

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The show is mesmerizing. Once a year, the backdoors of the Palais Garnier stage are opened onto the Foyer de la Danse, a large golden room, framed by columns and presided over by a magnificent chandelier that personifies the spirit of this theater, inaugurated January 5, 1875. The Foyer was then the setting for discreet rendezvous between opera patrons and dancers. It is still used as a daily rehearsal and warm-up room. Intimate and secretive, the space, though sumptuous, is concealed from the public eye. Except for one evening per year: the annual Dance Gala, an exclusive fundraising soirée presented by the Paris Opera and AROP (Association pour le Rayonnement de l’Opéra de Paris).

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The Masked-Life of a Maestro in Times of Covid-19

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The Masked-Life of a Maestro in Times of Covid-19
Part Two of a digital conversation with Keri-Lynn Wilson presented by The American Friends of the Paris Opera and Ballet
Access to the full video of the webinar at the bottom of the post.

For a year now, governments—and often doctors—have redesigned how people can live to combat and survive the Covid-19 pandemic. In some regions, entire sectors have sometimes been shut down: travels, restaurants, hotels, and sport arenas, but also bookstores, museums, theaters, concert halls, and opera houses. Culture and art often don’t fall into the lines of the iconic contemporary word: ‘essential.’

Remarkably though, the Paris Opera was opened for a few weeks in the Fall of 2020. Hopes were then high in France that Covid-19 was being contained, yet it came back with a revenge. While rehearsing Carmen for her debut at the Bastille Opera, Maestro Keri-Lynn Wilson experienced it first-hand. Within a minute, rehearsals were halted, and the opera shut down by the French Government. The same happened for movie theaters, museums, bars, and restaurants. 

Wilson’s dream of conducting in Paris was postponed. So, she went back to New York and resumed what she had been doing since March 2020: sharing music online and studying new scores. She created a ‘Becoming the Conductor Series,’ on Instagram, launched a YouTube Channel, built her own playlist on Spotify, and shared many videos and recordings on her website.

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The Postponed Musical Feast of a Woman Maestro in Paris

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The Postponed Musical Feast of a Woman Maestro in Paris
Part One of a digital conversation with Keri-Lynn Wilson presented by The American Friends of the Paris Opera and Ballet
Access to the full video of the webinar at the bottom of the post.
A French version was published via Le Petit Journal

Only a handful of women conducted at the Paris Opera, and none of them ever took her baton to present Carmen, possibly one of the greatest operas of all time. The Canadian-born Keri-Lynn Wilson was supposed to do just that—and to also make her debut in Paris last December. 

With the threat of Covid19 everywhere, and the measures local and national governments have taken to contain the pandemic, Wilson’s calendar has been reduced to just a few performances. A digital tour of her website (here) lists the many changes: A Concert with the Iceland Symphony Orchestra, the Grand Opera Gala at the Deutsche Oper Berlin, Carmen at the Bastille Opera, Rigoletto with the Bayerische Staatsoper, all canceled… With the exception of the opening streamed-concert of Mozart’s Week last January 21st, Wilson actually has not conducted for a live audience since March 2020.

Yet, had the French Government not decided to shut down all theaters in France a few days before the Christmas holidays, she would have led an exceptional performance, in times of Covid19 and in a major European city. A musical feast.

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