Counters Brody: "There are various groups interested in doing opera at the Lyric, and I would love to harvest their interest."
The friction so early on suggests that Baltimore Opera Theater might not emerge smoothly onto the cultural landscape, but Lalov and his wife are hardly wasting time stewing over perceived slights.
They have been in discussion with the Hippodrome about presenting two fully staged productions there next season (amplification is contemplated to compensate for that theater's dry acoustics). On Friday, they stopped by Meyerhoff Symphony Hall to discuss renting that venue for presenting a semi-staged opera and possibly a concert with acclaimed mezzo-soprano Jennifer Larmore. Hers isn't the only name Lalov drops when he describes his goals after the inaugural season.
"I'll bring [soprano Anna] Netrebko here," he says, "and [tenor Roberto] Alagna, if you want."
The prospect of having such current big-name - and pricey - opera stars in his productions will be possible, Lalov says, because he will be saving money in other ways. That includes creating the kind of inexpensive, yet viable, scenery that has been used by his touring company, Teatro Lirico d'Europa, which gave an engaging, if uneven, staging of Don Giovanni directed by Lalov at the Hippodrome in 2005. And a "very fast, economical" rehearsal period for each production.
Teatro Lirico uses predominantly European singers and instrumentalists, sometimes augmented by local talent. Lalov's vision for the new company is to use local choristers and orchestra members, including some who had been employed by the now-defunct Baltimore Opera.
Lalov has been talking with the Baltimore Chamber Orchestra about performing next season. "We're looking forward to the possibility of bringing opera back to Baltimore," says BCO executive director Lockwood Hoehl, "and of providing more performance opportunities for Baltimore musicians."
It's too early to tell how any of this will play out, especially since Lalov could be facing competition for opera patrons.
The Baltimore Concert Opera, formed in the wake of Baltimore Opera's collapse and based at the Engineer's Club, contemplates expanding from its current piano-accompanied to orchestra-backed performances of unstaged works at the Lyric. Former Baltimore opera board members and others have registered names of potential opera-producing companies.
And if Washington National Opera's concert presentation next month is successful at the box office, it may well return. After renovations are completed at the Lyric (the project will start in 2010), Washington National or other established companies outside of Baltimore might bring fully staged works to town.
But Lalov sounds supremely confident of what he can deliver.
"We're going to prove," he says, "that Baltimore can have a brand-new company on the same level as they had before."
