Promoting New Music in Opera: The Influence of Modern Economics

Stendhal’s insightful observation about Italian opera houses during the mid-19th century highlights an important aspect of opera performance: the obligation to stage at least one new work per season. This practice was a strategic move to rejuvenate and innovate the repertoire, ensuring ongoing relevance and appeal to audiences. However, would this strategy still be effective for promoting new music in the contemporary era, given the vastly different economic landscape?

From Obligation to Strategy

The economic environment of opera has transformed significantly since Stendhal’s time. Today, opera companies face existential challenges without substantial sponsorships and private donations. The reliance on external funding influences the choice of repertoire and the production process.

Private donors, who historically might have been willing to back new works, typically favor collaborative, existing works. Corporations, on the other hand, aim to maximize their marketing exposure for a minimal investment. This raises the question: can a newly commissioned opera compete with the legacy of Giacomo Puccini or Giuseppe Verdi in terms of audience appeal?

Supporting New Opera: Existing Programs

Despite the challenges, various programs have emerged to promote and facilitate the production of new operas. These initiatives often focus on chamber operas, which provide a manageable scale for budgeting and staging. The finite financial resources required make chamber operas a practical choice for opera companies and organizations.

One such program, the American Opera Projects (AOP) in New York, offers the New Works Program. This program aims to foster the development and production of new works through funding and collaboration. Similarly, the Mark Twain Foundation supports and develops new works by contemporary American composers. These programs not only provide financial assistance but also offer mentorship, networking, and performance opportunities for emerging composers and librettists.

Market Considerations in New Opera Production

Proponents of new opera argue that innovative and fresh works can attract new audiences while revitalizing traditional ones. However, the market demands practical solutions that align with contemporary financial realities. A newly commissioned opera, with its high production costs and uncertain return on investment, faces significant risks.

Recent examples, such as the critically acclaimed opera Doctor Atomic by John Adams, demonstrate that a carefully crafted new opera can resonate with modern audiences. This work successfully combined historical themes and modern musical elements, appealing to both traditional and new opera enthusiasts. Such examples suggest that a well-thought-out, innovative approach to new opera can indeed have market potential.

Conclusion: A Balanced Approach

In conclusion, while the strategy of staging at least one new work per season might not be as straightforward in today's economic climate, there are viable pathways for promoting new music in opera. By focusing on sustainable and manageable projects, leveraging existing funding and production networks, and ensuring a connection with the contemporary audience, new opera commissions can still play a vital role in the opera world.

The future of new opera lies in a balanced approach, recognizing the financial constraints while embracing the potential for innovation. By doing so, modern opera companies can continue to evolve and stay relevant in a changing artistic and economic landscape.