ARE YOU PATIENT ENOUGH?
It takes forever to produce an opera production. Several years pass from the moment your idea is conceived to the moment the champagne is popped at the premiere. In your first years as an opera director, you will inherit your predecessor’s repertoire. Your own best ideas and productions may not premiere until after your contract has expired and you yourself are history.
WITH HAT IN HAND
As an opera director, you are often the one who has to raise the money for the expensive productions. Your sales pitches have to convince subsidizing politicians, foundations and sponsors. You thought you were going to immerse yourself in the art, but you spend your time on charm offensives with your hat in your hand.
CASTING IS FULL OF TRAPS
You will certainly be tempted to hire a famous opera star who suddenly becomes available. If there is too much of a difference in level between the star and the members of your own permanent singing team, you will end up putting the latter on the spot. Then you have a problem.
CONTROL YOUR AMBITIONS
You’re sick and tired of seeing La Boheme, Figaro and Carmen in traditional productions. So you hire a trendy director who promises an exciting new take. Remember, the majority of the audience buys your expensive tickets to see the opera classics as they know and love them.
MARKETING IS YOUR BEST FRIEND
Your marketing department has to sell your performances, and at all times knows everything about audience segments and trends in society. At the same time, they think they know everything about opera. But they don’t. You must therefore spend a lot of time and energy explaining to them very clearly what your production is about, which unique singers you have found, and which audience the production is aimed at. With your pedagogical skills, you must then make them believe that it was all something they had come up with themselves.
