Abstract
Opera houses are no strangers to the tensions, conflicts and crises that affect or can affect any organization in any field of human activity, in any part of the world and at any period of history. If several general directors of American opera houses use the French term edifice complexe among themselves to qualify the institutions they manage, it is probably because tensions and difficulties of all kinds are their daily lot. Eight opera houses, including one foundation comprising three houses, have faced or are currently facing crises of varying scales and durations, with effects that may be short-lived or longer-lasting: the Opera National de Paris, Covent Garden, the Grand Theâtre de Geneve, La Scala in Milan, the Oper in Berlin foundation, Oper Leipzig, the San Francisco Opera Association and the New York City Opera.
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