After “Fight at the Opera,” CEO Pantos shown exit door

BY DON IRELAND SENIOR REPORTER

Pamela Pantos won’t be on hand for the closing performances at the Central City Opera next weekend. She was swiftly shown the exit door last week by the opera organization, barely 17 months after she assumed the role as the opera’s president and CEO.

“We thank her for her work and wish her the best in her future endeavors,” stated Heather Miller, board co-chair of Central City Opera, regarding the conclusion of Pantos’ employment that was announced suddenly on Thursday, July 20. The opera’s leaders said the search for a replacement will begin immediately.

The opera’s Shakespearian-themed season under Pantos ended as something of a midsummer’s nightmare for the leader following bitter, scandalized negotiations that lasted for nine months between the Central City Opera and the American Guild of Musical Artists (AGMA).

While the sounds of singing and speaking are familiar at the opera, those involved have been relatively tight-lipped about Pantos’ departure. Her name, photo and biographical information were gone from the Central City Opera’s website Thursday morning. A short statement announcing a leadership change was posted later last week.

Blogger Peter Alexander, who writes about classical music in the region, last week said, “Although no one said so on the record, it was widely believed that the previously-reported dispute between the opera company and the American Guild of Performing Artists (AGMA) was a result of Pantos’ administrative style and reflected her wishes.”

A spokesman from AGMA told the Weekly Register-Call, “AGMA, along with the rest of the opera community, recently learned that Pamela Pantos was terminated from her position at Central City Opera. But that’s all we currently know for certain, and we still have significant questions about what’s next at CCO. We hope that this change in leadership signals a shift in CCO’s culture, a commitment to treating CCO artists with dignity, respect, and care, and an improvement to our working relationship with CCO. Should this be the case, AGMA stands ready to work in partnership with CCO for the betterment of both the artists who perform on its stages and CCO itself. While we wait for more information, AGMA will continue to actively fight and advocate for our members, including pursuing multiple outstanding grievances under the CBA (Collective Bargaining Agreement) and several unfair labor practice charges at the National Labor Relations Board. We applaud the brave

Directors under an appropriate agreement that guarantees the confidentiality and protection of the targets of this abuse.”

The guild, which has had an 80-year agreement with the Central City Opera, noted that “at the moment, our path forward in negotiations is questionable due to the recent actions of the CCO, under the current leadership of Pamela Pantos. We understand that it has been a tumultuous period for CCO and that, in recent months, several long-tenured and respected members of CCO’s artistic team have resigned.”

During the negotiations, AGMA leaders accused Pantos of attempting union-busting techniques when the opera hired a legal team that also sought to keep Starbucks coffee employees from unionizing.

In December, AMGA alleged that “several artists have come forward, detailing disturbing conduct, ranging from public body shaming to sexual harassment to threats of retaliation for union activity.

Artists and Arts Professionals across the globe who stood up for what was right and raised their voices to call out injustice and mistreatment. We don’t underestimate the courage it takes to speak your truth.”

During the negotiations, AGMA leaders accused Pantos of attempting union-busting techniques when the opera hired a legal team that also sought to keep Starbucks coffee employees from unionizing. In December, AMGA alleged that “several artists have come forward, detailing disturbing conduct, ranging from public body shaming to sexual harassment to threats of retaliation for union activity. Out of respect and concern for the artists who have shared these accounts with us, we will not detail them here, but we are open to discussing the conduct with CCO’s Board of

The back-and-forth negotiations also heard CCO representatives claim AGMA wasn’t attempting to bargain in good faith. However, Sam Wheeler, executive director for AGMA, announced in early May that a work stoppage would occur for the opera’s 91st season if both parties couldn’t agree. A federal mediator was brought in to help resolve differences in

Ken Cazan, who directed Kiss Me, Kate, wrote in a blog, “I’m glad it’s over. Now, hopefully, the company will wipe the slate clean and start from the ground up to recreate itself. “ what local observers characterized as a pie-throwing fight.

On May 26, both parties agreed to a multi-year contract that yielded conditions the musicians’ union sought. The new contract enabled the 2023 opera season to begin in June. The curtain rose for Romeo and Juliet on June 26, Kiss Me, Kate on July 1, and Othello from July 15 through Aug. 6.

Ken Cazan, who directed Kiss Me, Kate, wrote in a blog, “I’m glad it’s over. Now, hopefully, the company will wipe the slate clean and start from the ground up to recreate itself. “At the moment, it is totally up to the board, and I pray that they have the fortitude to look at the company and its mission through a very fresh, clear lens. It is the perfect time to reimagine who and what they are and how they fit into the Colorado, American and international arts landscapes. I have so many thoughts on the huge potential for the company to move forward and grow artistically at this moment. It just takes guts and trusting a new artistic mentality—whoever that may be. Let the Managing Director and the new Artistic Direc-

Ashraf Seawilam, who directed Othello, wrote: “To me—and many of my colleagues share this sentiment— the priority now is to concentrate on performing the rest of the festival not only successfully, but brilliantly. I won’t speak about the circumstances under which we put this excellent season together. The company and its great history will move on from this episode. The tremendous efforts put together by the artists, creatives, and crew in order to produce this season in spite of the ‘obstacles’ should be what’s in the limelight now, not what we left behind. In the end, it’s why we’re here: The art and artists who make it happen.” tor (a must position and one that was sorely missed this summer) create a new world within and around CCO, one that hopefully reaches out and invites in a new, fresh audience while being grateful for the guidance and support of current and past generations.”

Ashraf Seawilam, who directed Othello, wrote: “To me—and many of my colleagues share this sentiment— the priority now is to concentrate on performing the rest of the festival not only successfully, but brilliantly. I won’t speak about the circumstances under which we put this excellent season together. The company and its great history will move on from this episode. The tremendous efforts put together by the artists, creatives, and crew in order to produce this season in spite of the ‘obstacles’ should be what’s in the limelight now, not what we left behind. In the end, it’s why we’re here: The art and artists who make it happen.”

Senior staff members Scott Finlay and Margaret Williams have agreed to serve as Interim Chief External Affairs Officer (Finlay) and Interim Chief Administrative Officer (Williams) during this leadership transition to ensure operational continuity. “We are confident in the team we have in place and know that they are the utmost professionals with deep understanding and respect for this historic organization,” said Miller.

Pantos began her role as the opera’s president and CEO on Feb. 28, 2022. “Pamela is a seasoned leader with significant experience in the arts, and the Board is confident that she is the right person to build upon the legacy of Central City Opera and our commitment to serving our community,” said Anne McGonagle, co-chair of the Central City Opera Board of Directors, when Pantos’ selection was announced.

The now-departed CEO previously worked for Boston Children’s Chorus, Newport Music Festival, Arts Consulting Group and Opera North. She also advised national institutions, including the Los Angeles Philharmonic, Park Avenue Armory and Bravo! Vail. Before that, Pantos spent more than 10 years in Europe, performing opera roles in many of the world’s most prestigious venues. As a mezzo-soprano, she recorded for EMI and the Companions Label and was on the roster of Columbia Artists.

Considered its opera a gem in local history, it has been a tourist attraction for over a century, frequently offering sold-out performances over the decades. The city annually contributes $25,000 to the non-profit organization.

Founded in 1932, the Central City Opera is the fifth oldest professional opera in the nation, developing a reputation for world-class productions, a robust young artists training program, educational activities and community involvement.

Central City Opera owns and maintains 27 Victorian-era properties, including the intimate 550-seat jewel box opera house built in 1878. Since its opening, the opera has welcomed such notables as screen actress Lilian Gish, Mae West and others. President Ulysses S. Grant visited the famous property in 1873. Many highly-profile names appear on markers around the opera properties on Eureka Street.