Noemí Galera, director of the 'OT' academy: “I prefer the contestants to be rebellious than docile”

Noemí Galera (Barcelona, ​​57 years old) is in an office that is not hers, that of the directors of

Operación Triunfo

, presided over by three screens that spit out live images of the contestants, who have been locked up on the upper floor for three months. , in a studio in the Parc Audiovisual de Catalunya, located on the outskirts of Terrassa.

The director of the academy of the television contest, which celebrates its semifinal this Monday, prefers to sit with the production team, at a simple desk attached to a poster that reads this message: “You leave your ego here.”

An arrow in a downward direction points to the trash can.

On one of the televisions, Martin eats lactose-free yogurt.

In the one next door, Paul Thin and Álvaro Mayo, the nominees of the week, pack their bags.

The second will leave that night.

Just before, Galera allowed herself to be photographed in what she calls “Guantánamo”, a small prison-like room with two bunk beds where she sleeps on Monday nights.

On it hangs the white suit that will be worn at the gala, a couple of hours later, where the candidates will be hailed as if they were the Beatles of 1965. It will be broadcast live on Prime Video, the main novelty of this edition, the first that has not been developed in an old-fashioned canal.

Despite being exposed to a smaller audience, the move to the platform has not affected the program, whose digital impact has far exceeded those of the 2017, 2018 and 2020 editions. In the last gala, 8.6 million votes were received, 10 times more than in 2020. In total,

OT

videos

accumulate 720 million views on networks, double that of the last edition.

More information

'OT' Gala 10: Kiki and the honor of Spanish tomatoes

Galera is tired, but happy.

"The balance is very positive.

The fit with Amazon has been good.

I hope we do more

OT

with them.

They have gotten carried away by us, who have been doing this program for 23 years,” she says.

“Actually, this is the format of my life.”

She knows that she has poured herself into

OT

beyond reason.

She has not left this premises for weeks and has barely seen her two children, ages 11 and 13.

“When they ask me if they recognize me on the street, I say I don't know, because I don't step on it,” smiles Galera, who exhibits the same simplicity and naturalness that she says she looks for in her

castings

.

She is

Mami Noe

, the nurse of these orphaned children, but also a public enemy on networks, depending on the day and time.

She has been on television for more than half her life, but she is more unknown than she appears.

She was born in the Barcelona neighborhood of Gràcia, on that Carrer de les Camèlies that gave the title to Mercè Rodoreda's novel.

She grew up without her father.

Her mother ran a bar.

Her uncle sang boleros in the backyard during her vacation in a town in Castellón;

From him she believes she gets her endless appetite for music.

While she was studying Hispanic Philology, a career that she supported by working as a salesperson at Bulevard Rosa, a disappeared shopping center in the upper area of ​​Barcelona, ​​television crossed her path.

Gestmusic, La Trinca's production company, signed her after participating in the contest

Love at First Sight,

Tinder's television ancestor.

“I've been here since I was 24 years old.

Now I think she wouldn't be happy doing anything else.

I was lucky, but I have also put in more hours than anyone else,” she admits.

'OT' is a program of values, such as respect and equality.

During the Telecinco stage, that was lost a bit, because 'reality' took precedence.

Luckily, that has changed,” says Galera.

Since the golden edition of 2017, that of Amaia and Aitana, the format has returned to the whiter register of the first editions, far from the harsh tone of its years on Telecinco, when Galera, who was involved in several clashes with Risto Mejide — “I didn't I have seen it again, I am not interested in removing that stage,” he says—he admits that the format was distorted.

“

OT

is a values ​​program.

For example, respect and equality.

In this edition we have organized talks on sexual health, attention deficit and body self-esteem.

At that stage that was lost a bit: television was different and what prevailed was

reality.

Luckily, that has changed,” he maintains.

She would not return to her OT

jury days

, when the required spectacle required her to overact in a villainous role of which she does not seem to have good memories.

“I don't have a bad conscience, but today I would do it differently, because society is different and because I, fortunately, am also a different person,” he responds.

“Being a jury is ungrateful, and in my time networks did not exist.

In 2005 they called me at home to threaten to kill me.

In recent times I have had to file two complaints, for insults and because in one of the cases they lied to me about my daughter,” she confesses.

Famous for his “milk rises” and his

broncOTes

, with which he has earned a somewhat unfair fame from Rottenmeier—that inextinguishable misogynistic stereotype—he says that he has taken this edition much more calmly.

“The networks are like a Roman circus that asks for blood, and I didn't want to give it to them.”

He doesn't go to the psychologist, "although he should."

He says he's just been a little more patient than usual.

Gestmusic's casting director, Noemí Galera, at the end of January on the stairs leading to the 'OT' academy, in the Parc Audiovisual de Catalunya (Terrassa). Gianluca Battista

Without reaching the extremes of past editions - in 2018, TVE had to apologize to the Falange for comments made by a contestant and Galera herself -, this one has also not been short of controversies:

somewhat exaggerated accusations of

bullying , insults between

fandoms

of the candidates,

various

bollodramas and even an ineffable war with the French

OT

to decide which format was better, which ended with a peculiar Peace of the Pyrenees on the network formerly known as Twitter.

In addition, the singer Iván Ferreiro called the program “butchery” and called his teachers “cantamañanas.”

And a fierce campaign by the followers of Chiara, one of the candidates, reached a giant screen in New York's Times Square (even so, she was eliminated).

“I wonder what some will do with their lives starting February 19,” Galera ironically.

It is the date of an outcome that is considered open.

“I never know who is going to win anyway.”

In 2017 she thought it would be Agoney.

She left before the final.

Watching her work on her

castings

, it seems like she chooses by instinct, rather than by strategy.

“Yes, there is something quite irrational.

"I trust my instinct, because I have made the biggest decisions in my life by jumping into the pool."

For example?

“When I met my partner, Arnau [Vilà, musical director of

Tu cara me Sonya

], she had been married to someone else for 15 years.

We met a couple of times and I decided to separate.”

It happened during the

castings

of the 2009 edition, which perhaps increased her excessive attachment to the program.

“It is true that I feel it like a project of mine, when it is not.

I know that one day this will continue without me, because no one is essential.”

Years ago the deadline of 60 was set to quit.

Now that she is fewer, she says she will stay “until retirement.”

But then she doubts: “At what age does one retire now?”

Galera embraces the contestants of the 2017 golden edition, which ended with Amaia and Aitana in the first positions, along with Javier Calvo and Javier Ambrossi, then acting teachers of 'Operación Triunfo'.Cristóbal Castro

Galera sees

OT

as a sociological mirror, as “a reflection of the country's youth.”

In this edition, only five of the 16 contestants say they are heterosexual.

In 2001 there were no declared LGTBI.

“We have never left people out of the collective, ever.

But society has changed.

Maybe then they were not aware of what they were, of the grays that existed.

Now young people feel free to define themselves however they want, and even not to define themselves,” says the director of the academy.

She also observes a healthier relationship with “sexuality and its needs,” which is reflected in her recurring, and not always discreet, trips to the showers.

“If you compare this edition and the 2020 edition, you see differences.

Those who have entered this year have spent their adolescence locked up at home due to covid.

They are more sensitive and express their anxiety more easily, and it is very good that this is the case,” says Galera.

In 2020, he had to organize a talk to confront a contestant's homophobic comments.

“This year it hasn't been necessary.

In just three years, I have encountered a more modern, diverse and respectful youth.

Even straight people have nothing to do with those of another time.

Now they don't mind showing affection, kissing or crying.

“I am proud that my children have this model.”

Now they no longer sing for Chayanne, but for Sen Senra.

Seeing them on screen, it would seem that the goat is becoming extinct.

"Total.

And that's wonderful."

Although he is afraid of other youth: “The one that is here, inside the cell phone, which also exists.

The networks show how radicalized the country is.

Having these 16 people with these values ​​is a host with an open hand depending on who,” she says about the rise of certain political parties.

For Galera, the values ​​of the program are “an open-handed host” to certain political parties.

In this edition, only five contestants say they are heterosexual.

In 2001 there were no declared LGTBI

Another

leitmotiv

of this edition has been the double standard for men and women.

“Much more is demanded of them, as happens in other areas of society.

They have to sing well, but also dance, be pretty and look great.

The fact that they come out on stage is already useful to us.

It is something that we have engrained in our DNA.”

Celebrate, despite everything, that the contestants are not submissive and protest when they don't like something, as has happened on several occasions in this edition (and, more extreme, in 2018, when the candidates went so far as to call a demonstration ).

Despite the criticism, the

triumphs

no longer seem like alienated beings who follow orders, but rather co-producers of a show with their own criteria and subjectivity.

“Before they did not dare to stand up.

Everything was more 'this is how it is and that's it'.

Now we give them the opportunity to say things,” says Galera.

“Sometimes it bothers me, selfishly, because it requires extra effort from me.

But I prefer them to be rebellious than docile.

Let them speak with pride about their time in the program, instead of disowning

OT

when they leave here.”

There was a time when it was embarrassing to say that one watched this program.

Now, shame may have changed sides.

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