This weekend sees the opening ceremonies for the 2006 European Capital of Culture, but Patras is off to a tough start, writes Brian O'Connell.

It's like déjà vu all over again! While the debate rages over Cork's cultural legacy, this year's European Capital of Culture - Patras in Greece - is finding out just how difficult hosting the cultural designation can be. Just two days into Patras's tenure as European Capital of Culture 2006 began, artistic director Thanos Mikroutsikos, a former Greek culture minister, tendered his resignation, throwing the city's tenure into crisis.

In a formal letter of resignation to the mayor of Patras, the director cited organisational problems and shortcomings in planning as his main reasons for resignation. "The cultural body was delayed in being formed and had serious errors, while its structure and provisions do not befit a contemporary cultural institution, especially at a European level," he said.

Situated on the Peloponnese Peninsula, Patras is three hours from Athens, and has struggled to ignite interest among a local population still suffering from an Olympic hangover. There is little in the way of cultural infrastructure to host events, and a total of 72 events are planned, whereas Cork incorporated over 300 in its year-long programme.

There are now major doubts over whether the Patras 2006 organisation can restore public confidence and interest in the event.

Programming director, Alexsis Alatsis, one of the favourites to be appointed as new artistic director, is adamant that the opening ceremonies this weekend will not be affected by the sudden resignation. "We may have some difficulties for the second period of our programme; but the first half remains unaffected," he says.

There has been criticism in some circles at the awarding of the designation to Patras, which does not have an airport or mainline train service. "I don't think it's very elegant for people to be critical of us before the programme has even begun," says Alatsis. "We expect thousands of people on the streets next week, travelling from all over Greece, and we remain committed to providing a year-long programme of high quality events."

Cork 2005 director John Kennedy points to the difficulties many capitals of culture face: "I'm not surprised at the announcement," he says, "One of the first things someone told me when I took on the position was that 5 per cent of the directors see it through to the end and, given the experience I had, I'm not surprised. It's not an easy project. In Liverpool for example, which is Capital of Culture in 2008, the first director lasted all of six weeks."

Following the difficulties experienced in Cork and in many other host cities, there have been calls in recent years for Brussels to overhaul the way the European Capital of Culture designation operates.

"Expectations vary so much between different sectors that it becomes a polarised event," says Kennedy. "The business community want business results, the arts community want arts results, the sports community wants sports results and so on. It's also hard to use something as indefinable as culture to satisfy all the needs. Is arts and culture just entertainment or a magnet to attract business to an area? I think that question needs to be addressed, as tensions exist in every capital of culture. I think it's fair to say that the designation exposes weaknesses in a city during the course of a project."

Kennedy will remain in his role as director of Cork 2005 as the company is wound down over the coming months.

"I think the notion that previous staff from past cities help act as mentors has considerable merit. It can be a very lonely job, and the problems I experienced in Cork are the same everywhere. There is a sense that the experience doesn't get passed on, in the way that knowledge in staging the Ryder Cup or World Cup does, and I think that needs to be addressed. It would certainly make the job a lot easier."