War, Peace and Controversy at L.A. Opera

I was not surprised to read that Los Angeles Opera’s anticipated imported production of “War and Peace” was a “casualty of donor discord” (“L.A. Opera’s ‘War and Peace’ Casualty of Donor Discord,” by Diane Haithman, Aug. 23).

However, I was rather astonished at the veiled tone of the article, with its implications that the blame somehow lies with “Los Angeles Opera’s chief benefactor, Alberto Vilar,” and its departed executive director, Ian White-Thompson, instead of our Teflon-coated artistic director, Placido Domingo, whose ambitions appear to be expanding at a greater pace than our funding to support them.

Although White-Thompson was mentioned in the article as “Domingo’s coequal,” I don’t recall ever seeing his photo splashed on banners or the season’s brochure.

HELEN MAE ALMAS

Bell

*

I am disappointed by Los Angeles Opera’s cancellation of “War and Peace.” But more than that, I am shocked by details in Diane Haithman’s excellent story.

First, what is Los Angeles Opera doing growing its budget 50% without an endowment? This jeopardizes the very existence of the company, which was built up from nothing over 14 years when Placido Domingo’s role was advisor.

Second, what kind of administration relies so heavily on one donor and then causes an airing of the guy’s payment delays and health problems? Wealthy readers won’t exactly be lining up to copy Alberto Vilar, who deserves the gratitude of us all.

Finally, how lame is it for the Domingo administration to cite “growing pains” as the basis for the cancellation? What they should be admitting is that they inherited an experienced crew from the late Peter Hemmings--and proceeded to reinvent things--only with less savvy.

I applaud the impulse to grow. Let’s do it without jerking around the fans or wrecking this fine Los Angeles institution.

ANDREW POWELL

Santa Monica

*

Mark Swed’s commentary (“Turning Opera Minus Into a Plus,” Aug. 24) was a bit equivocal and unwarrantedly harsh toward Alberto Vilar, opera supporter extraordinaire.

On the one hand, Swed showed a little understanding for the world’s most generous contributor to opera, but on the other hand, he questioned the terms of agreements of Vilar’s gifts, i.e., the scheduling of payments, with some upfront money and the balance a year later.

If the opera company can’t manage its affairs to accommodate the donor’s terms, then why not just decline his magnanimity?

A.C. DAVIES

Marina del Rey

*

The lack of $600,000 brings a crisis of sorts to the Los Angeles Opera. That sum is the difference between staging the long-anticipated Los Angeles premiere of “War and Peace” and publicly announcing the withdrawal of backup funds to fulfill an obligation to the opera audience.

This in a city often touted as the entertainment capital of the world, a world where actors can command $20 million a picture, etc. Unfortunately, there is only one David Geffen. Shame on The Industry.

CONRAD J. DOERR

Palm Springs