FLEISCHMANN TO PARIS OPERA

For Ernest Fleischmann, moving from the Los Angles Philharmonic to the Paris Opera is a “great challenge.”

On Tuesday, Fleischmann announced his resignation as executive director of the Los Angeles Philharmonic to become general administrator and artistic director of the Paris Opera (formally: Le Theatre National de l’Opera de Paris), effective immediately.

“One would be a mouse not to accept it (the Paris position),” Fleischmann told The Times on Tuesday. “How many people at this stage of their career would have the opportunity to face a totally new set of challenges?

“I couldn’t have done this two years ago,” Fleischmann continued. “Now, with a new music director--a real music director--in place, and everything running more or less smoothly, it is possible.”

But still, Fleischmann’s sudden resignation after 16 years at his post, came as a surprise, leaving the Philharmonic board without plans for a successor.

As announced simultaneously here and in Paris, Fleischmann will commute, beginning in mid-December, between his Paris and Los Angeles jobs. He now plans to spend the entire summer of 1986 completing his duties as artistic director of Hollywood Bowl; his last day on the job will be Sept. 30, 1986.

Who will assume his Philharmonic post? Fleischmann says the board of directors of the Philharmonic Assn. will decide that, without input from the outgoing executive director. “It will be difficult,” Fleischmann said in his Pavilion office. “There is not a lot of administrative talent around. If there were, would I have been offered a job in Paris?”

At the reins of the Philharmonic since June, 1969, Fleischmann is generally acknowledged one of the most effective administrators in the classical music industry. In his 16 1/2 years with the orchestra, he has presided over expanding orchestral activities which have taken the ensemble from an 84-concert schedule in his first year to a present schedule of 150 orchestral performances, at both the Dorothy Chandler Pavilion and Hollywood Bowl.

These years have also seen expansion of the Philharmonic’s touring and recording activities, and two major changes in musical leadership. Fleischmann is generally credited with securing the services of Italian conductor Carlo Maria Giulini as music director of the orchestra when Zubin Mehta resigned, to become conductor of the New York Philharmonic, in 1978.

Similarly, he presided over the search and negotiations, concluded in the spring of 1984, which brought Andre Previn to the podium of the Philharmonic earlier this year.

Himself a former conductor and music critic, Fleischmann came to Los Angeles from a post as European director of Columbia Records; before that, he had been (1959-67) general manager of the London Symphony Orchestra (LSO).

As a young conductor, he led a number of professional musical organizations during the years worked in South Africa; at the time he moved to London in 1959, he had had to choose between taking the administrative post with the LSO and remaining in South Africa to become music director of the Capetown Symphony.

Now, at age 60 (he will turn 61 on Dec. 7), Fleischmann says the challenge in his not-yet-signed contract with the Paris Opera--it must first be approved by French president Francois Mitterand--”is too great to pass up.

“At first, I resisted,” Fleischmann said. “Nearly five years ago, at the beginning of 1981, I was first approached. But the time was wrong.

“Then, I served for a while on as part of the planning team for the new Opera a la Bastille, set to open on the 200th anniversary of the Revolution, July 14, 1989. But, because I had to be here for the opening of our season, I had to withdraw.”

Four weeks ago, Fleischmann recounted, he was asked again to accept the Paris Opera post. After turning down the offer, he did agree to one more visit to Paris, which he made last week. This time he stayed three days.

“When I came back to Los Angeles last Thursday, I had still not accepted,” he told The Times.

Now that he has decided to take the post, Fleischmann said what attracted him was “the idea of a finite position, one which will end after three years--and thus takes on no political overtones--when the Opera moves into a new home at the Bastille.”

At that time, the old home of the Opera in Palais Garnier will become the full-time residence of the Paris Opera Ballet (of which Rudolf Nureyev is chief).

Also what attracted him, he said, was “the impossibility of the challenge. After all, the Paris Opera has not been, traditionally, the most disciplined opera house in the world.

“And, one other thing: Here is an opportunity to use what I consider a first-rate opera orchestra, one which at least is first-rate under the right conductors.

“I would like to give this orchestra the stature it deserves, because, musician by musician, it is one of the best orchestras in Europe. In a real sense, the quality in this opera house begins in the pit.”

On his last visit to Paris, Fleischmann said, he met the young staff at the opera and was “totally seduced” by the city. “At this point, about 50% of the seasons for the next three years are still unplanned. That is a challenge. And, of course, there are severe budgetary limitations on those seasons.”

The news of Fleischmann’s resignation, coupled with the announcement of his appointment as head of Paris Opera brought a mixture of disappointment and good wishes from top members of the orchestra’s board of directors.

“Although I’m sorry he’s leaving, I can understand the challenge and the opportunity (of the Paris post),” board chairman Rocco C. Siciliano said. “He will be a difficult man to replace.”

Of the Paris Opera position, Siciliano noted, “The French have been after him for a long time--at least a year or so. He was resistant to the idea for a long time. But, as they say, it was an offer he couldn’t refuse.”

Siciliano added that a new executive director at the Philharmonic would be named “in the next two or three months. ‘Search’ is the wrong word, because it makes us look like we’re going out and inviting the world to apply. There are a limited number of individuals who could fill the position.”

Sidney R. Petersen, president of the board, sympathized with Fleischmann’s decision to leave. The move into opera “is something he’s always wanted to do. At this stage of his career, and feeling the way he does, he would have wondered all his life what it would have been like.”

Petersen downplayed any suggestion that Fleischmann’s leavetaking has any connection with the recent arrival of Andre Previn as music director: “No, it’s not the reason he’s leaving. He was looking forward to working with Andre.”

Currently in England, Previn could not be reached for comment. Petersen said that he hopes to “sit down with Andre and discuss his role (in the transition period).”

Fleischmann’s resignation came as somewhat of a surprise to some board members, Petersen noted. “This has all happened so suddenly. We informed the board only yesterday (Monday). I learned of it last week.”

In Paris, conductor-composer Pierre Boulez said that he and Fleischmann had talked about the Paris Opera post, but that the organization had not consulted him on the hiring decision.

“The (Paris) company needs someone very strong,” Boulez said. “It’s been a difficult time for them, since the departure (as general administrator) of Rolf Liebermann five years ago. They’ve been very unsettled. The previous head, Massimo Bogianckino, was elected Mayor of Florence (Italy), so that’s why he’s leaving.”

Boulez recalled that in 1967-68, he joined with director Jean Vilar and choreographer Maurice Bejart in examining the (administrative) situation there. At that time, I asked Ernest to be with me. So he was familiar with the company.

“He knows that there are good individuals (at Paris Opera). What was missing was someone with authority who can lead people.”

In New York, former Philharmonic music director Zubin Mehta said “this is, of course, a great loss for Los Angeles. I know how Ernest Fleischmann’s heart has been ensconced in the opera world for many years. I am happy for him that his is not only going to fulfill his desire in this direction but also I am sure under Ernest’s leadership, the Paris Opera’s quest to be one of the leading opera houses in the world will be realized.”