A scene from the opera Dark Sisters by Nico Muhly (photo: Pittsburgh Opera)
At times we treat certain art forms as a closed set. Complete. We want our reliable standards and nothing more, nothing new. Opera has this challenge. Treating the creative period of opera as if it were behind us, we put it into a museum for preservation. Yet why do we resist the new in opera, while embracing new works in other arts like film, visual arts, and music? Composer Nico Muhly gives us reason to support the creation of new work. Yes, we have to preserve the masterpieces of the past and keep presenting them on stage. Yet we should also cultivate a creative environment that encourages artists to create within these great forms.
Read on for an argument on Nico Muhly as a case study for why we need our organizations and our audiences to be a part of the creative process, in “Nico Muhly, Dark Sisters and the Case for New Opera” (click here to read full article).
Mary Cassatt, Woman in Black at the Opera, 1879
The future of opera has many considerations. It must respond to changes in financial markets, in audience tastes, and in the aesthetic direction of an art that has a 400-year history but that also remains productive with new works. Beyond that, it is simply one of the most complex and expensive forms to produce. Consequently, contemporary opera companies are dealing with a number of intersecting issues. How to present new work and find audiences for it, how to mount expensive productions of the historically celebrated repertoire, how to balance the budget in tough financial times, and how to honor the artists who pour their soul into their beloved work. The Muse Dialogue offers some thoughts on the situation, and shares the thoughts of Pittsburgh Opera’s General Director, Christopher Hahn.
Join us for reflections on opera, its history and future, and even on the wonders of nonprofit finance in “The Future of Opera, a Conversation with Christopher Hahn” (click here to read full article).