The opera world is certainly interesting these days, in all senses of that word. This is a turbulent and nervous month for many of my friends as the union negotiations at the Metropolitan Opera heat up, and there’s a whole press battle being waged about the viability of the art form. This battle has one meaning in New York, where the Big House’s sides are drawing lines in the sand and pleading their case to the public, and a very different meaning elsewhere as many of the soundbites are being repeated in ways not always relevant. On the other hand, there are companies thriving in the midst of innovation, there is excellent work happening and getting noticed. To have a stake in all of this as an opera professional and (above all) as a lover of the art form, and at the same time to be immersed in Ariadne, a work about transformation and the ability to move past what’s passed, makes for one of the most intense confluences of time and place I’ve ever experienced.
Here’s a cool fact about our Ariadne: every member of the cast is a former or current member of the Glimmerglass Young Artist Program. Every. Single. One. Additionally, I’m a former Director of the program. So this company is enjoying acclaim and all kinds of buzz around this wonderful production – and the company quite literally created this performance over years, by investing time and money and taking a chance on every one of the singers on stage. By taking a chance on me.
Just chew on that for a minute. It’s more than just a cool fact after all.
Glimmerglass continues this beautiful, vital, necessary practice, through employment, through mentorship, through purposeful combining of people. So many companies are working like this to grow the future of the art form. I’m exhilarated to be part of that. It’s a life’s calling.