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I think it’s a great role because we really can create the world we want to have. So, we can really create the opera of tomorrow. We can really be on the pulse of our time and on the needs of the people of our time. It’s exhilarating writing music and
working with others. I don’t have any requirements. As long as it’s done with skill and talent, I will be happy wherever it is. The way the discussion has been going it so say that if opera is to survive is has to embrace
new technologies, it has to embrace the cultural traditions of other types of music. The majority of people here Believe in that vision. And if we don’t go there, then
I don’t think it’s going to continue. Perhaps we should not hesitate sometimes to touch the storytelling, to change it. To adapt it to the new social challenges or the perceptions people have. And I think that’s an interesting way of making our heritage a resource
for the future not only a legacy from our past. It doesn’t have to be intellectual. I think it’s something that
actually can… …sweep you off your feet, through the emotional experience that
you get thought opera. I feel that we are right now in the… …new era of new works. There is a renaissance of composing, and writing, that I think is relatively unprecedented for our century. There are many new stories, new
voices being told. And I am personally very excited to see stories that we have never seen before. From voice and communities
that have never been… …represented on an opera stage. I think that in representation, we will solve
a lot of our problems and meet our new audiences of the future.

One thought on “CAN NEW OPERA BE VITAL AGAIN? – World Opera Forum Short Film

  1. Thinking of how to reconnect opera (and its composers) with the tastes, expectations and emotional experiences of the current audiences is really a fundamental challenge that must be solve if Opera is to continue as more than a great artistic legacy repeated many times over. I sense that there is in most contemporary works a lot of excess in "intellectualization" and a certain disdain to the perhaps more "basic" and straightforward feelings and desires of the ordinary audiences – especially their quite simple desire for some beauty, fantasy and emotion in their post-modern lives that are often pretty grey -, who are after all is done those who keep Opera alive as little more than an intellectual curiosity for acaemicists.

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