The world of opera is evolving and transforming in new ways. The pandemic’s effect on the arts fueled innovative and creative ideas paving new lanes for opera. Music directors, stage producers, choreographers, composers, and librettists are pushing the limits of the visual arts in an effort to spark the interests of concert-goers. Opera settings have incorporated modern aesthetics, advanced technology has brought opera to movie theaters, and several new productions include a majority cast of minorities. These efforts have been put in place in an attempt to gain new audiences, retain current audience members, and provide enticing opportunities for talented individuals.
In this discussion, we’ll look at specific projects from leading opera companies to better understand how project management and marketing strategies advance opera to include newer generations and talent from a multitude of ethnic backgrounds.
Washington National Opera: Fidelio
The Washington National Opera’s original plan of showcasing Fidelio in the fall of 2020 was halted due to the pandemic. Francesca Zambello, Washington National Opera’s Artistic Director, pursued creative alternatives in the hopes of showcasing Beethoven’s only opera. Her efforts resulted in two projects for Fidelio.
For the first project, the Washington National Opera commissioned and produced an adaptation of Beethoven’s Fidelio at the Kennedy Center in Washington, D.C. in 2021 as part of their "Come, Hope" initiative. The opera was reimagined as a musical graphic novel that can be purchased as a paperback for $9.95 + shipping. The project was extended to video and audio formats and involved the opera company's Cafritz Young Artists while displaying cartoon images with occasional animation. Author Kelley Rourke and illustrator Erik Teague collaborated to create an atmosphere to spark the imagination and bring insightful perspectives to the storyline. The video incorporates narration that weaves in and over operatic voices accompanied by piano. The addition of sound effects and post-production adds drama and dimension to the sound. The twenty-minute video can be viewed on the Kennedy Center’s Youtube channel.
In 2022, Francesca Zambolla directed her second project with the Washington National Opera titled Beethoven in Virtual Reality. Audience members indulged in 360-degree audio played by the Washington National Opera Orchestra. The performance premiered two arias from Fidelio including Leonora’s aria “Komm, Hoffnung” sung by soprano Tamara Wilson. American tenor, Russell Thomas, played the role of Florestan. The performance is roughly thirty minutes and was later showcased at Austin Opera in partnership with the Washington National Opera.
Omar + Black Composers
Minority composers have increasingly come to the forefront with new works, often depicting stories of the minority culture and experience. Despite this, few compositions have advanced to mainstage productions. Many discussions involving minority singers, composers, and instrumentalists have explored the reasonings for this phenomenon. These conversations are often met with frustration aimed at opera houses, theatres, donors, and artistic directors as they make final decisions on casting and opportunities. The conversation continues to gain traction and as a result, changes are occurring.
Omar, written and composed by Rhiannon Giddens in collaboration with Michael Abels, premiered at Spoleto Festival USA in 2022. Shortly after, it debuted at multiple venues including LA Opera, and will premiere at San Francisco Opera in the fall of 2023. The opera was inspired by Omar’s 1831 autobiography which details his life in his native land and depicts his experience of being enslaved and brought to a foreign country. Omar has opened opportunities for Blacks in the opera world leading to debuts at top opera houses. For example, the title role, played by tenor Jamez McCorkle, made his debut at LA Opera and will have a new debut at San Francisco Opera in the 2023 production.
The Metropolitan Opera received backlash for never staging a black-composed opera in its 136-year history. In 2019, the company announced it would stage Fire Shut Up In My Bones, written and composed by Terrance Blanchard in collaboration with librettist Kasi Lemmons. The grand event was a debut for director Camille A. Brown. The opera premiered on September 27th, 2021, and featured bass-baritone Davóne Tines and soprano Julia Bullock. The pandemic caused the Met Opera to close for roughly one-and-a-half years prompting high anticipation for the season’s opening. Fire Shut Up In My Bones introduced the Met’s post-pandemic season and saw an increase in people of color and newer generations in its audience. That same year, Fire Shut Up In My Bones was picked up by the Lyric Opera of Chicago.
Opera San José Figaro
The Marriage of Figaro is arguably one of the most famous operas of time and has been staged hundreds of times since its premiere in 1786. Opera San José has staged the opera three times and for its fourth attempt during the 2022-2023 season, they premiered Mozart’s masterpiece fuzed with Indian culture. Directed by Brad Dalton, the opera’s production also includes professionals of Indian backgrounds including the choreographer, conductor, costume designer, and more. The creative team’s new take on The Marriage of Figaro sets it apart from the original in various ways. Firstly, the opera is set in India during the enduring Victorian rule when the British ruled over India from 1858-1947 in an era known as the British Raj. In addition to a new setting, Indian culture will be incorporated through dance choreographed by Bhardwaj. Thirdly, scenes originally written with a specific number of people on stage will additionally include dancers to represent the strong presence of community and union in Indian culture.
The Dallas Opera: Crescendo
My colleague and best friend, Malikha Mayes, is the founder of Crescendo, a creative program at the Dallas Opera that caters to diversifying opera audiences by providing affordable memberships to enjoy performances of the season for individuals ages 21-45. The enticing $60 membership boasts incredible perks which include two complimentary tickets to Dallas Opera’s mainstage productions, discounted tickets at $45 each for any additional performances on Wednesdays or Fridays, and 40% off weekend performances. Additionally, pre-show and behind-the-scenes events are held throughout the season for members to connect with one another and learn about opera. The mission of Crescendo is invaluable during a period when opera companies continue to struggle to gain and maintain newer and younger audiences. Crescendo’s refreshing concept proves its value with memberships growing to 238 members (with 65% first-time Dallas Opera attendees) in its first year of launching. With high anticipation,120 individuals have signed up in advance for Crescendo next season. These types of initiatives make strides of advancement for Dallas Opera and highlight the challenges opera companies face as they have prioritized outdated marketing strategies targeted at retaining donors who heavily fund their organizations. A fixation on a small group of people with access to abundant financial resources often neglected the vast majority. Opera data analytics shows an unwillingness to implement creative strategies to better understand newer generations’ needs has resulted in fewer season ticket holders, older audiences, and fewer donors. However, with initiatives such as Crescendo, classical music can reach a broader audience and bring in new stakeholders and music enthusiasts.
LA Phil “Van Beethoven” + Arizona Opera Carmen
In 2015, the Los Angeles Phil Harmonic surprised their community with a project titled “Van Beethoven.” Its objective was to fuse virtual reality with Beethoven’s Symphony No. 5. The team revamped a rented van decked with carpet, state-of-the-art audio technology, and seats from the Walt Disney Concert Hall. Ticket holders experienced a private setting while listening to the Los Angeles Philharmonic through headphones and viewing the concert using Oculus devices. The atmosphere created, enhances human sensories by incorporating 360-degree audio that adjusts with the viewer’s perspective depending on where they are “seated” within the venue. "Van Beethoven" toured various Los Angeles communities in the hopes of providing opportunities for individuals unprivileged to see this art form.
Georges Bizet’s Carmen was reimagined as a graphic novel adapted by Alek Shrader, P. Craig Russell, Aneke, and Hassan Otsmane-Elhaou. The four creatives partnered with Arizona Opera and ran a campaign on Kickstarter where 829 backers pledged $42,944 for exclusive digital and hardcover prints of the novel.
The project was originated by American tenor and director Alek Shrader who originally submitted his idea to OnPitch Challenge, a contest hosted by Arizona Opera. The graphic novel won the contest and also received the Opera America Innovation Grant. These two accolades led to their Kickstarter campaign which helped commission additional talent to bring the project to fruition. P. Craig Russell is a New York Times bestselling illustrator and was hired to create illustrations for Carmen: The Graphic Novel. His graphics were brought to life with vivid colors, bold lines, and expressive characters. The project proved successful as it surpassed its goal of $20,000 while reaching hundreds of opera and comic lovers.
Sources
Lawrence Brownlee Announces Upcoming Facebook Live Series, ’The Sitdown with LB’
Fidelio by Beethoven (Animation)
Opera
The Marriage of Figaro - India
Dallas Opera - Crescendo
Newer Opera Houses feat Minorities
Capetown Opera Founded in 1999
Vs. SFO founded in 1923, MET in 1880, La Scala 1778, etc.
Lawrence Brownlee
Merola Opera Program
LA Phil “Van Beethoven”
First, let me say that I love how you include your sources at the end of your blog posts! Makes it so much easier to do my own deep dives later. Lol. And, omgosh, is there so much to deep dive into here!
How did I manage to LIVE in Arizona and know nothing about the Carmen graphic novel??? I'm ashamed...and intrigued. 😂 Also, I love, love, love the Dallas Opera's Crescendo program and hope more opera houses across the country adopt this model, as well. Its so important to increase opera's viewer-base/reach and this strikes me as an excellent way to do it!