The inaugural Business of Opera summit, hosted by the Laidlaw Opera Trust, brought together industry leaders and innovators to forge new pathways for the future of opera. In the spirit of collaboration, we spoke with two attendees to gather their insights on the conversations that emerged from this event.
Having run the Association of British Orchestras for 15 of its 80 years as the representative body for the orchestral sector and curated 15 of its annual conferences and other events, it always struck me as odd that the UK’s opera sector has never coalesced around a single voice, or held an event where it
could examine the challenges for the industry and articulate its public value.
The Business of Opera summit was therefore a welcome development and long overdue. It was great to see so many opera companies and stakeholders in the same space, and the agenda absolutely nailed the key issues of today. But what emerged for me from the discussions was a disconnect between the mainstage opera companies, who were focused on bemoaning their fate and wanting cuts to their Arts Council funding reversed, and the small-scale sector, who were hungry for revolution and for respect from their peers.
So, the next job is finding a way of bridging that potential divide. And without doubt the opera sector needs to invest in the creation of an inclusive and effective advocacy body to build the evidence for its public value and return on investment. If theatre, dance and orchestras can do it, why not opera?
It definitely felt like there was a desire to meet again next year. But there was also a sense that artists and artist managers were missing from the discussion. So, any
future event needs to cast its net even wider, and make
sure that all stakeholders in this crucial art form are represented in the room, without being deterred by the cost
of attendance.
And as climate change was on the agenda, thought also needs to be given to the value of flying in American speakers for a one-day event, in one case literally arriving that morning and flying back the same evening. As we learnt during the pandemic, hybrid events can work, and a balance between
in-person and online speakers could help reduce carbon emissions and bring in a wider cast of speakers, including from places beyond the UK and USA.
But let’s be positive. The Laidlaw Trust’s initiative, vision and generosity in putting on the summit is to be applauded, and we should all extend our gratitude and encouragement for them to host the event again next year.
Mark Pemberton OBE
The Laidlaw Opera Trust convened its first summit on 10 October, titled “The Business of Opera”. Seeking to bring the opera sector together to discuss its shared challenges and opportunities, the conference featured a wide variety of keynotes, panels and interactive working group sessions throughout the day.
A key feature was the launch of new research, by Public First, exploring public perceptions of opera in the UK. Given that the UK opera sector has faced some of the heaviest funding cuts in the last regular round from Arts Council England (ACE), this report offers vital insights into what a broad cross-section of the public—including those who have not yet attended an opera—thinks and feels about the art form. Some of the key findings demonstrate cause for optimism, such as 71% of the public considering opera as a unique art form and 56% considering attending an opera in the future. However, it was sobering to note that 42% of respondents had never met an opera fan, and that both actual cost and perception of cost emerged as major barriers to attendance.
For any sector to grow and evolve, it must look beyond itself for ideas and inspiration. Keynotes from Peter Gelb, General Manager of New York’s Metropolitan Opera, and Sir Keith Mills, Deputy Chairman of the London Organising Committee of the Olympic and Paralympic Games, provided fresh perspectives from both the opera and sports worlds.
The Met’s innovative approach to programming new works that resonate with new and diverse audiences serves as an exciting example of how we can expand the stories presented on stage while attracting new patrons. While opera and the 2012 Olympic and Paralympic Games may seem unrelated
at first glance, Sir Keith’s analysis of converting public scepticism into enthusiastic ticket sales offers valuable lessons for our sector.
The panels and working groups included smaller organisations and those championing Global Majority artists, such as English Touring Opera, Pegasus Opera, Chineke! and OperaUpClose. The insights shared by these voices, operating outside the larger opera house structures, were particularly valuable. If the conference is to become an annual event, it will be crucial to continue expanding the range of perspectives represented—such as from theatres and venues that host touring opera companies, freelancers at the heart of the creative process, and organisations led by those with different kinds of lived experience, such as opera company formidAbility, which puts access and inclusion for individuals with disabilities at the centre of its work.
Streetwise Opera, the opera company I lead, operates at the intersection of art and social impact, aiming to introduce opera to those who have experienced homelessness and harnessing its transformative power to create lasting change in people’s lives. Some view this participatory work as distinct from professionally produced opera, and ACE’s Director of Music, Claire Mera-Nelson, acknowledged at the conference that ACE’s earlier analysis of the opera sector significantly overlooked learning and participation activities. Whilst many experienced and engaging speakers were featured, I would have appreciated a spotlight on groundbreaking projects like ENO Breathe—ENO’s socially prescribed programme utilising breathing techniques from singing to aid COVID recovery—or the radically inclusive work of Birmingham Opera Company. Once we begin to see the whole range of this work as part of the same art form, I suspect we will also start to see a shift in public perceptions of what opera is and who it serves.
Rachael Williams
To read the research carried out by Public First, visit
What the UK public thinks about Opera – Public First
