The combined World Opera Forum and Opera Conference in Los Angeles was a landmark event. A record-setting 801 people registered — including 189 artists — making it the largest-ever opera convening. Thirty-six countries were represented across six continents. The president of the Pan African Society for Musical Arts Education (from Lusaka, Zambia) reported that it was a life-changing event. An American artist already has been invited to Malaysia to lead a workshop. Members of Beijing’s National Center for the Performing Arts will visit our National Opera Center in August.

My opening comments at the World Opera Forum provided only an introductory glimpse into the similarities and differences among official delegates that defined the entire three days of the forum and the Opera Conference that followed.

A quick review of available data confirmed that companies in Europe and North America all derive, on average, less than 20% of their income from ticket sales. The sources of the remaining 80% reveal a great variation: In Europe, more than 60% of income comes from government, while in the United States, over 60% of income is provided by private donors. This profound difference shapes organizational strategy, structure, and staffing.

Artistically, there is more unity than difference. A scan of the current seasons of all the companies represented by official delegates revealed that the most performed composers across the globe — by far — are Puccini, Verdi, and Mozart. Many seasons feature a few works of national importance, too, that don’t travel across borders and oceans, such as rare Massenet in France and unusual Donizetti in Italy. (I wonder what the U.S. equivalent of this “national” repertoire would be.)

Seven companies in the immediate LA area created a week-long OperaFest for forum and conference attendees, demonstrating the creative scope of American opera and affirming that more new works are performed in the U.S. than other countries. There was considerable debate about the style of these works and even the categorical definition of them. It was agreed, though, that the future direction of opera should be guided by the artists who are creating new works — artists who need to be resourced sufficiently to enable them to achieve success.

Facilitated discussions and ad hoc conversations throughout the entire week underscored deep differences in perspective and priority. Racial justice, gender parity, social responsibility, civic engagement, and sustainability were some of the topics that provoked sharp responses from delegates and general attendees. Many of the differences in approach to these topics are rooted in the socio-cultural characteristics and attitudes of each country, as well as the place of opera in their national arts landscape. At the same time, speakers were unanimous in their belief that opera can thrive as a contemporary cultural force around the world.

We will continue to build international bridges of understanding across the continents and at home, too, where spirited debate strengthens community and contributes to progress. We look forward, as always, to hearing from our members and invite your questions and comments as we share reports and recordings from our historic meetings.