État de l'art ou art de l'État ?

Septembre est traditionnellement le mois où les orchestres et les compagnies des opéras quittent les festivals d'Aix, Salzburg, Tanglewood et de nombreux autres pour rentrer chez eux. Cette rentrée est aussi marquée (des deux côtés de l'Atlantique) par le retour des inquiétudes sur les moyens de financement de la musique classique.

La vie symphonique américaine est eurocentriste sous presque tous ses aspects, sauf pour son financement. Alors que les Américains dépendent des dons privés déductibles des impôts et des recettes pour financer les spectacles de musique classique, les Européens préfèrent un soutien gouvernemental direct.

Ironie du sort, alors que les défenseurs des arts aux États-Unis demandent depuis longtemps l'adoption du “modèle européen”, qui a produit une vie artistique riche et variée, l'Europe se voit forcée de changer de cap et d'orienter son système de soutien vers une plus grande dépendance vis-à-vis de l'argent privé et des recettes.

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