makes them tick. If you don’t do that research to see what excites
them, invigorates them, then the organization will falter.
There has to be a certain amount of experimentation. You’re
trying to strike a balance between multiple factors: educating
versus pandering to versus alienating your audience. How do
you find that pocket, and how was the seminar in New York
trying to address dwindling audiences?
What I just went to in New York was called the Opera America Leadership Intensive Program. They identify young, aspiring administrators
who want to make a difference. There were people from Sweden, London, Vancouver, Houston, San Francisco. It was such an honor to be
Rehearsal at The Plaza, July 24, 2016. photo by Jason Fronczek
chosen to participate because Opera Orlando is such a small company
Inaugural event of Opera Orlando, photo by Kenn Stamp
compared to the rest. But what I learned is that it’s about balance. We
can’t just aim at one demographic or one type of opera production. It’s
hard to find, because so much of this relies on subjective taste. In the community. A high percentage of those who were killed wasn’t only
main, though, the seminar was about governance, fiscal responsibility, LGBTQ but also Hispanic. They were on the forefront of the tragedy
board management, storytelling, and public speaking.
and they realized that Spanish wasn’t being spoken, and some survivors
and victims’ families needed translators. They also offered counseling
Gabriel Preisser, Opera Orlando’s Artistic Director, is also a and legal services—whatever was needed. We were inspired by them.
singer. How common is it for the main administrators at an opera company to also be singers?
Let’s continue with the idea of experimentation and risk-takIt’s actually not very common. We’re trying to lay a foundation for the ing. Mr. Preisser has participated in a lot of contemporary opera,
future, and so we are both taking active roles in performance and direc- works by Kevin Puts, Tobias Picker, Ricky Ian Gordon, Daron
tion. But it won’t go on indefinitely.
Hagen, Mark Adamo, and Dominick Argento. Is there a possibility of new work being done here?
Going back to my initial question about its rebirth, why is Opera Both Gabe and I are really passionate about new work and we both
Orlando popping up now? You stated earlier that the recession believe that to make opera relevant, we have to focus on what’s hapwas a factor for Orlando Opera’s demise. Is it because the reces- pening here and now. So many opera companies are geared towards
sion is over? If so, how vulnerable is the organization to a fresh producing new work, and that is absolutely on our docket. But it’s also
economic downturn?
often expensive and we need to have the finances in place to make that
You know, in the arts you really have to take calculated risks. And I happen.
felt like, with the rebranding of Florida Opera Theater into Opera Orlando, it was time, because all the variables were in place. It had been What we’ve decided to do for our first season is Donizetti’s Don Pasten years since Orlando Opera had closed; Florida Opera Theater was quale on November 18th and 20th, a comedic tale, directed by me,
doing really well and there was growth there. And, I was at a place in about an old bachelor who refuses to get married; Menotti’s Amahl and
my career where I could really afford to take a chance, and I felt this the Night Visitors on December 11th through the 20th, which is sort
calling, like I really needed to do this.
of our Christmas tale, directed by Eric Pinder; and Mozart’s Don Giovanni on March 24th-26th. We’re going traditional with Don Pasquale,
Speaking of a calling, talk about One Voice Orlando and the per- family oriented with Amahl, and “high concept” with Don Giovanni.
formance on September 11.
I actually moved back here the week of the Pulse shootings. It wasn’t Have you mapped out multiple years of activity?
quite the homecoming I expected. Opera Orlando’s email inbox was Yes, but I can’t talk about it yet. I can tell you that we want to be really
just exploding. Singers from everywhere, directors, and conductors active in things like the Fringe Festival. We’re interested in adaptation,
were all asking what they could do to help. And we did immediate- like Peter Brook’s adaptation of Bizet’s Carmen, which cuts the opera
ly respond—we were part of Beautiful Together, and we organized a down to 90 minutes but retains its compositional integrity. We’re also
benefit with singers at a church and raised $4000 for the OneOrlando interested in playing site-specific works in unconventional spaces, like
Fund. We wanted to do more, and identified six charities that we really doing Le Nozze di Figaro in a mansion because that’s where the opera
wanted to help, who have done amazing things since the Pulse trag- is set. I love “high concept” treatments of opera—our current season’s
edy. Those are Orlando Health’s Level One Trauma Center; the first Don Giovanni is the story of Don Juan, the old Spanish tale, and we’re
responders, doctors and nurses. They did so much and their resources going to have it take place on a college campus. So, we’re going hit a
are just depleted. The Zebra Coalition, a wonderful organization that is few hard issues: we’re going to talk about date rape and womanizing.
geared toward helping underprivileged gay, lesbian, and bisexual teens. We’re trying to take social stereotypes and tell the story in a completely
The Orlando LGBTQ Community Center has been huge since the trag- different way.
edy and they’ve done so much.
Interfaith Council of Central Florida and the Holocaust Center’s UpStanders: Stand Up to Bullying Initiative both really spoke to us. And
one of the organizations I’m really proud of is Proyecto Somos Orlando,
which is a hispanic organization that has done amazing things in the
Orlando’s Art Scene, v. 1.4
You can see more at:
VincentConnor.com
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