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OPERA America welcomed the international opera community to Los Angeles — June 3-8, 2024 — for a week-long, global gathering of opera administrators, artists, trustees, and advocates.
The second-ever World Opera Forum and the annual North American Opera Conference, hosted by LA Opera, focused the industry on making a case for opera in the 21st century.
The week was filled with debate, discussion, and networking. Participants left with new insights, ideas, and relationships that circle the globe.
The World Opera Forum was a collaboration of OPERA America, Opera Europa, Ópera Latinoamérica, and the Association for Opera in Canada.
Coming Soon!
Stay tuned for videos of the World Opera Forum and Opera Conference plenary sessions.
The World Opera Forum
The second-ever World Opera Forum welcomed opera leaders from around the world to Los Angeles for a global conversation about the future of the art form.
Fifty-five opera leaders from six continents convened for discussion on the strategies needed to guide the sector through today’s dynamic landscape of art, politics, and technology.
Forum Delegates
The World Opera Forum features delegates from all six continents, including artists, administrators, trustees, and advocates:
Argentina
Jorge Telerman, general director, Teatro Colón
Australia
Jo Davies, artistic director, Opera Australia
Mark Taylor, executive director, State Opera South Australia
Brazil
Flavia Furtado, executive director, Amazonas Opera Festival
Andrea Caruso Saturnino, general director, Theatro Municipal de São Paulo
Canada
Larry Desrochers, general director and CEO, Manitoba Opera
Rebecca Hass, director of engagement programs and partnerships, Pacific Opera Victoria
Michael Hidetoshi Mori, artistic and general director, Tapestry Opera
Jean-Pierre Primiani, director of development, Opéra de Montréal
Robin Whiffen, executive director, Against the Grain Theatre
Chile
Paolo Bortolameolli, music director, Orquesta Sinfónica Nacional Esperanza Azteca
Carmen Gloria Larenas, general director, Teatro Municipal de Santiago
Colombia
Pedro Salazar, stage director, La Compañía Estable
Croatia
Iva Hraste-Sočo, general manager and artistic director, Croatian National Theatre in Zagreb
France
Louis Langrée, conductor, general director, Théâtre national de l'Opéra-Comique
Germany
Laura Berman, intendant, Staatsoper Hannover
India
Asad Lalljee, curator, Royal Opera House Mumbai
Italy
Ilaria Lanzino, director, librettist
Barbara Minghetti, artistic director, Teatro Sociale di Como, Teatro Regio di Parma
Sebastian F. Schwarz, artistic director, Festival della Valle d'Itria
Japan
Reiko Ishikawa, senior artistic administrator of opera, New National Theater Tokyo
Masami Zeniya, president, New National Theatre Tokyo
Malaysia
Danny Chen, executive producer, Kuala Lumpur City Opera
New Zealand
Joanne Cole, director, artistic planning and participation, New Zealand Opera
Poland
Renata Borowska-Juszczyńska, general director, Grand Theatre, Poznań
South Africa
Magdalene Minnaar, artistic director, Cape Town Opera
South Korea
Kounee Suh, general director, Seoul Arts Center
Spain
Joan Matabosch, artistic director, Teatro Real
Javier Menéndez, director general, Teatro de la Maestranza
Sweden
Henning Ruhe, artistic director, GöteborgsOperan
Switzerland
Aviel Cahn, general manager, Grand Théâtre de Genève
Jan Henric Bogen, general and artistic director, Konzert und Theater St. Gallen
Ukraine
Galyna Grygorenko, composer, The State Agency of Ukraine Arts and Art Education
United Arab Emirates
Paolo Petrocelli, head, Dubai Opera
United Kingdom
Laura Canning, general director and CEO, Opera North
Elena Langer, composer
United States
Afton Battle, vice president, Lyric Unlimited; artistic operations, Lyric Opera of Chicago
Deborah Brevoort, librettist
Antonio Cuyler, professor of music in entrepreneurship and leadership, University of Michigan; consultant, Cuyler Consulting LLC
James Darrah, artistic director and chief creative officer, Long Beach Opera
Khori Dastoor, general director and CEO, Houston Grand Opera
Gabriela Lena Frank, pianist and composer
Andréa Fuentes, Ed.D., Vice President, LA Opera
Christopher Koelsch, president and CEO, LA Opera
Timothy Long, artistic and music director of opera, Eastman School of Music
Susan G. Marineau, board chair, OPERA America; board chair, The Santa Fe Opera; trustee, San Francisco Opera Board
Missy Mazzoli, composer; professor, Bard College Conservatory; co-founder, Luna Composition Lab
Beth Morrison, president and creative producer, Beth Morrison Projects; founding co-director, PROTOTYPE Festival
Julia Noulin-Mérat, general director and CEO, Opera Columbus
Timothy O’Leary, general director, Washington National Opera
Matthew Ozawa, chief artistic administration officer, Lyric Opera of Chicago
Morris Robinson, bass
Yuval Sharon, director; founder and artistic co-director, The Industry; artistic director, Detroit Opera
Zambia
Bibian Kalinde, president, Pan African Society for Musical Arts Education
Opera has benefitted for decades from the support of cultural agencies and philanthropy. But in a world of competing priorities and limited resources, support structures are weakening. Making a case for opera requires new organizational and artistic strategies.
Over three days, delegates and members from the global opera community investigated the following key themes:
Introduction: Making a Case for Opera in the 21st Century
Opera has benefitted for decades from the support of cultural agencies and private philanthropists for different reasons. In much of Europe, governments have been motivated by a sense of obligation to their national culture and cultural infrastructure. In North America, the grandeur and exclusivity of opera has been an allure to many social and business leaders. Many countries exhibit a mix of these motivations, but in a world of competing priorities and limited resources, support structures for opera companies in their current form are weakening.
Making a case for opera today cannot be a simple narrative exercise in which different language is found to change the public perception and value of the art form. Superficial changes will not be sufficient to overcome barriers to opera participation. Making a case for opera requires new organizational and artistic strategies that make theaters welcoming to more diverse audiences and convey the importance of the arts, artists, and arts workers to healthy communities and thriving economies.
What is the government’s responsibility to support the arts in a world that is becoming increasingly multicultural? Are commitments to overcome the elitism of opera and increase diversity authentic and sustained? Is the tempo of evolution too slow; is disruption a necessary precursor to reinvention?
Featuring:
Laura Berman, intendantin, Staatsoper Hannover
Laura Canning, general director & CEO, Opera North
James Darrah, artistic director and chief creative officer, Long Beach Opera
Flavia Furtado, executive director, AMAZONAS OPERA FESTIVAL - FAO
Galyna Grygorenko, head/composer, The State Agency of Ukraine Arts and Art Education
Bibian Kalinde, president, Pan African Society for Musical Arts Education (PASMAE)
Missy Mazzoli, composer; professor, Bard College Conservatory; co-founder Luna Composition Lab
Magdalene Minnaar, artistic director, Cape Town Opera
Michael Hidetoshi Mori, general director, Tapestry Opera
Julia Noulin-Mérat, general director and CEO, Opera Columbus
Morris Robinson, bass
Mark Taylor, executive director, State Opera South Australia
Facilitator: Ed Yim, senior vice president and chief content officer, WQXR
Topic I: What We Produce, How We Produce It, and For Whom
Through the 20th century and into the 21st, opera has been defined by a 19th-century European repertoire that extended Europe’s cultural sensibilities around the world, including some works that promote cultural stereotyping and depict the mistreatment of women. Some of these works have enduring musical importance but require careful consideration in light of contemporary sensibilities.
At the same time, an increasing number of new works tell new stories in different styles that connect opera to life today. Composers and librettists entering the opera sphere are helping the art form evolve as a contemporary cultural expression. New collaborative, cooperative, and devised models of creation are expanding the creative diversity of the art form. Co-production among companies leverages resources and promotes sustainability. The incorporation of film, video, and other new technologies amplifies the scope of production design and composition. Technology also expands the reach of opera outside the walls of the opera house through live transmission, recordings, and work developed specifically for the screen.
Enlarging the palette of opera increases the potential to attract new audiences, and while most companies report record-setting first-time attendance, many newcomers are not yet returning frequently. Some long-standing audiences are unenthusiastic about new works and new interpretations of their favorite operas. Many people have incorporated new forms and formats of entertainment and cultural consumption into their lives, intensifying competition for their time and attention.
How can the intersection of the old and new enrich the entire opera experience? What is the right balance between stories with local impact and universal appeal? Can stewardship of the operatic inheritance and encouragement of new creation be woven into an appealing continuum? Should continuity be the goal, or is discontinuity the more appropriate path to progress?
Featuring:
Afton Battle, VP, Lyric Unlimited; artistic operations, Lyric Opera of Chicago
Renata Borowska-Juszczyńska, general manager, Poznań Opera House
Aviel Cahn, general director, Grand Théâtre de Genève
Jo Davies, artistic director, Opera Australia
Andrea Fuentes, vice president, LA Opera Connects, LA Opera
Rebecca Hass, director of community engagement, Pacific Opera Victoria
Iva Hraste-Sočo, general manager and artisitc director, Croatian National Theatre in Zagreb
Christopher Koelsch, president and CEO, LA Opera
Ilaria Lanzino, director, Musiktheater an der Wien, Nurnberg Staatstheater, Oper Leipzig, Teatr Wielki Poznan, Aalto Theater, Staatstheater Wiesbaden
Joan Matabosch, artistic director, Teatro Real Madrid
Beth Morrison, president and creative producer, BMP; and founding co-director/ PROTOTYPE, Beth Morrison Projects, and Prototype Festival
Matthew Ozawa, chief artistic administration officer, Lyric Opera of Chicago
Pedro Salazar, director escénico, La Compañía Estable
Facilitator: Ed Harsh, director of strategic initiatives, The Kurt Weill Foundation for Music
Topic II: Elevating Human Values
The worldwide pandemic shined the light on the urgency to reassess opera’s relationship with the people who bring the art form to life. Opera leaders have a history of inspiring audiences with transporting productions and virtuosic performances, but this success has taken place too often without sufficient regard for the well-being of the artists and artisans who make the work possible.
Opera leaders are called upon to examine and adjust long-standing policies and practices to retain and recruit staff in critical areas of operation and provide a responsible level of job security. The training of artists must prepare them to exercise agency in the progress of their own multifaceted careers. A sustained commitment to embrace new attitudes and values and create workplaces that affirm individual identities, promote social and racial justice, and assure safe and respectful work conditions is an essential basis for extending service to the public.
How can producers overcome inherited attitudes and adjust ingrained practices to improve conditions for artists and arts workers? How can artists be empowered as full partners in the opera enterprise? How can artists and arts workers thrive in the context of reduced productivity? Will changed values reshape the structure and operation of opera companies?
Featuring:
Paolo Bortolameolli, music director, Orquesta Sinfónica Nacional Esperanza Azteca
Deborah Brevoort, librettist and playwright
Danny Chen, executive producer, Kuala Lumpur City Opera
Joanne Cole, director, artistic planning and participation, New Zealand Opera
Timothy Long, artistic and music director of opera, Eastman School of Music
Sue Marineau, Board Chair, OPERA America; Board Chair, Santa Fe Opera; Trustee, San Francisco Opera
Tim O'Leary, General Director, Washington National Opera
Paolo Petrocelli, head, Dubai Opera
Jean-Pierre Primiani, director of development, Opéra de Montréal
Henning Ruhe, artistic director, Göteborgsoperan
Yuval Sharon, director, founder and artistic co-director, The Industry (Los Angeles); artistic director, Detroit Opera
Robin Whiffen, general director, Against the Grain Theatre
Facilitator: Rebekah Diaz, director I.D.E.A. initiatives and community engagement, Pittsburgh Opera; president and founder, Diaz Inclusion Consulting
Topic III: Becoming Engaged Cultural Citizens
Opera cannot thrive without a demonstrable connection to the social and political dynamics of the communities that are home to companies. In an age defined by war and migration, climate change, cultural and economic inequities, political polarization, and increasing diversity, the mission of opera must expand beyond the narrow purview of the arts.
With a shared, multi-national repertoire, every opera company will be enriched by its unique relationship to its place and the qualities that shape it. Opera’s inherent capacity to convene, communicate, educate, and bridge divides must be shared broadly to improve the lives and lift the spirits of people who may never enter the opera house in addition to those who enjoy the art form.
How can the demands of producing opera be integrated into a larger commitment to addressing varied and changing civic priorities? Can the aesthetics of public service be appreciated equally with the aesthetics of production and performance? Do expanded civic responsibilities require changes in organizational missions?
Featuring:
Jan Henric Bogen, general and artistic director, Konzert und Theater St. Gallen
Andrea Caruso Saturnino, general director, Theatro Municipal de São Paulo
Antonio Cuyler, professor of music in entrepreneurship and leadership, University of Michigan; consultant, Cuyler Consulting, LLC
Khori Dastoor, general director & CEO, Houston Grand Opera
Larry Desrochers, general director & CEO, Manitoba Opera
Hannah Griffiths, general manager, Birmingham Opera Company
Asad Lalljee, curator, Royal Opera House of Mumbai
Carmen Gloria Larenas, general director, Teatro Municipal de Santiago
Gabriela Lena Frank, pianist and composer
Javier Menendez, director general,Teatro de la Maestranza
Barbara Minghetti, artistic director, Teatro Sociale Como, Teatro Regio Parma
Phenye Modiane, founder and managing director, Johannesburg Opera
Sebastian Schwarz, artisitc director, Festival Della Valle D'Itria
Facilitator: Susan Feder, program officer, Arts and Culture, Andrew W. Mellon Foundation
Conclusion: Making a Case for Opera
We return to the opening challenge. Have two days of debate about critical issues among global opera leaders clarified programmatic aspirations, prioritization of respect for the people of opera, and the relationship of companies to the places they inhabit? Can creative sustainability, environmental sustainability, and financial sustainability coexist in a supportable balance? Can they reinforce one another in a manner that brings new energy to a 400-year-old art form?
Featuring:
Christopher Koelsch, president and CEO, LA Opera
Marc A. Scorca, president and CEO, OPERA America
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
World Opera Forum 2024 (photo: Jc Olivera Photography)
Opera Conference 2024
Opera Conference 2024 brought together opera administrators, artists, trustees, and advocates from across North America together in Los Angeles to move the art form forward.
The World Opera Forum will set the stage for the conference by leading global discussions about making the case for opera in the 21st century. The closing session of the forum will launch the conference as its opening session.
Over four days, attendees translated the topics of the forum into key discussions about the future of the North American opera field.
Opening Session, Part I: Making a Case for Opera
We return to the opening challenge. Have two days of debate about critical issues among global opera leaders clarified programmatic aspirations, prioritization of respect for the people of opera, and the relationship of companies to the places they inhabit? Can creative sustainability, environmental sustainability, and financial sustainability coexist in a supportable balance? Can they reinforce one another in a manner that brings new energy to a 400-year-old art form?
Featuring:
Christopher Koelsch, president and CEO, LA Opera
Marc A. Scorca, president and CEO, OPERA America
Opening Session, Part II: What is Going to Change in the Years Ahead?
A look ahead to the next World Opera Forum in 2028 will anticipate what is going to change over the next four years — and beyond. What changes will shape the world of cultural entertainment and how audiences value and participate in our work? How will our work need to evolve to advance our core values while adjusting to new technologies and audience expectations? Experts from different fields will share their views of what lies ahead.
Featuring:
Aubrey Bergauer, author,Run It Like a Business
Anne Hiatt, founding artistic and executive director, Opera on Tap
David McIntosh, founder, Creative Business Breakthroughs
Doug McLennan, founder and editor, ArtsJournal
Kamala Sankaram, composer
Facilitator: Marc A. Scorca, president and CEO, OPERA America
Topic I: Managing Accelerating Change
The need to manage change grows more urgent. The repertoire is expanding with new works, new audiences are sampling opera in greater numbers, generational change is disrupting patterns of giving, and technology is revolutionizing work. With small staffs and limited resources, opera companies must remain alert to opportunities and be more nimble than ever before. Artists, too, have to become adept at managing career paths that are varied, exciting, and challenging at the same time. Leading administrators and artists will discuss the skills and strategies needed to manage the accelerating tempo of change.
Featuring:
Aubrey Bergauer, author, Run It Like a Business
Khori Dastoor, general director and CEO, Houston Grand Opera
Keith Leonard, board chair, LA Opera
David McIntosh, founder, Creative Business Breakthroughs
Doug McLennan, founder and editor, ArtsJournal
L Michelle Smith, bestselling author, global executive & life coach, no silos communications llc
Facilitator: Marc A. Scorca, president and CEO, OPERA America
Topic II: What Does It Mean to Be Local?
Even companies with national and international reputations deliver most of their service and derive most of their support locally. But what does it mean to be local?
Beyond a limited number of performances each season, how do companies work with local artists, arts organizations, and other community partners to deliver local value throughout the year? How does a focus on local benefit increase the potential for creativity and expand the definition of aesthetic excellence? Opera company leaders and community partners will discuss the importance of building a company culture that prioritizes its relationship with its place.
Featuring:
Leticia Buckley, CEO, LA Plaza de Cultura y Artes
Tim O'Leary, General Director, Washington National Opera
Karen Mack, founder & CEO, LA Commons
Lori Decter Wright, general director & CEO, Tulsa Opera
Moderator: Rebekah Diaz, director I.D.E.A. initiatives and community engagement, Pittsburgh Opera; president and founder, Diaz Inclusion Consulting
Topic III: What’s Next For Opera?
Opera is rooted in four centuries of inherited practices. For many of these years, opera was at the forefront of invention in stagecraft, lighting, and instrumentation. In the 20th century, commercial creativity took the lead in the areas of film and popular entertainment. Here, in one of the entertainment capitals of the world, experts at the intersection of art and technology will share some of the latest developments shaping their work and hint at the implications for opera.
Featuring:
Christopher Koelsch, president and CEO, LA Opera
Opera Conference was hosted by LA Opera, which was the headline company of OperaFest LA.
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Opera Conference 2024 (photo: Jc Olivera Photography)
Save the Date for Opera Conference 2025
Opera Conference 2025 May 20–23, 2025
Join OPERA America and Memphis Opera in Memphis, TN for the largest gathering of opera administrators, artists, trustees, and advocates at Opera Conference 2025. Featuring four days of networking, discussions, panels, and performances. Registration will be open in November 2024.
The exhibition catalog of the 2024 World Opera Forum and Opera Conference
June 03, 2024
Partners & Sponsors
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World Opera Forum
The World Opera Forum is made possible by a generous leadership gift from C. Graham Berwind, III, with additional deeply appreciated support from Barbara Teichert, Nanette and Keith Leonard, Carol F. Henry, and Susan G. Marineau.
