The Patronato del Teatro Real was founded today at the request of the Minister of Culture, Ernest Urtasunwith the support of the Community of Madrid and the Ayuntamiento of Madrid, Gregorio Marañón as president of the institution for a new mandate of 5 years.
In a meeting on behalf of the Minister of Culture, Secretary of State Jordi Martí indicated that Marañón should preside over this new era and proposed it to the members of the Patronato. Both the Mayor and the President of the Community of Madrid and the patrons present and represented supported the resolution, which was unanimously approved.
After the vote, the president, who hailed the continued support of the three administrations and patrons, agreed to put “his greatest illusion and effort” into the consolidation andPeople who have achieved the relevant national and international status of the theater have always been committed to their “ambition for excellence and permanent renewal”.
Marañón asked the importance of the project to its CEO Ignacio Garcíi-Belenguera; artistic director Joan Matabosch and assistant general manager Borja Ezcurra, as well as public loyalty, supported by its 17,000 subscribers and the involvement of 150 sponsored companies250 private patrons and 13,000 members of the Fundación de Amigos del Teatro.
“Teatro Real is the only European opera in which public contributions do not exceed 35% of its assumption, to which civil society contributes 30% and the rest comes from the income generated by the theater itself, mainly from the table,” said Marañón.
In prestige, the president said, “it has not stopped growing and today it appears among the most important international operas next to La Scala, Covent Garden or the operas of Paris, Vienna and Berlin”, a model in which the work of its 400 “excellent workers” and its performance are essential to its “magnificent orchestra and its great choir”.
In addition, the reality is compromised by creating a dialogue around sustainable development, an effort that has been internationally recognized by the awards for the most sustainable theater of the world opera, and it is desirable not only to be part of the creative community, but to be an inspiration and a place for it.
Martí pointed it out “to place in the first division” at the Teatro Real, as it is now, is “very difficult” but Marañón achieved this thanks to a solid cultural project that ensures stability and consensus and gives his team autonomy in management, a guarantee of good success.
Before the patronage, Marañón added that the theater always aspires to growth and improvement, with internationalization, modernization and sustainability as pillars of labor supervision through a compromise with civil society that emphasizes digital and audiovisual development, through the MyOpera platform and in its consolidation as an open reference space for children and young people and diversity.
Since its incorporation in 2008 under the Royal patronage – and since its reopening in 1997, six presidents have succeeded – Marañón has dedicated his work to the reform of the institutional model of the Teatro Real, which must properly address the economic crisis of that year with the drastic reduction of public subsidies, as well as the difficulties and new goals faced by the pandemic.
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