It is an interesting time for Opera. 

What audiences nowadays expect and desire from the arts has meant that the elitism associated with Opera, along with its outdated themes and morals, are no longer accepted by a new wave of arts fans. 

The recent decision made by Arts Council England to slash funding of leading Opera organisations such as Glyndebourne and English National Opera proves alone that the cultural landscape of the UK is changing rapidly – and Opera must change with the times.

One who is proving to be leading the way to innovate the art form is Daisy Evans, Artistic Director of Silent Opera – an organisation bringing opera to the ÔÇÿnext generationÔÇÖ –  and the Director behind Welsh National OperaÔÇÖs recent production of The Magic Flute. I had the opportunity to discuss the future of Opera, and how she is determined to shape it, with Daisy. 

As Artistic Director of Silent Opera, your work is all about innovation and very future-focused. What do you think is key to progressive, innovative opera? 

I think the key is making an open, accessible experience for the audience member: this can come in many forms. With Silent Opera, the setting in an urban space that is interesting, unconventional, and out of the norm can access a crowd of people who donÔÇÖt feel the red and gold guild of an opera house is for them.

I also think itÔÇÖs important to make sure the opera is current and speaks to and reflects the audience coming to see it. This could be in the setting, but often in the language you hear the opera in. I often create contemporary translations that range from entirely colloquial to modern poetic. It means an audience can instantly understand what theyÔÇÖre seeing and digesting, so they don’t feel thereÔÇÖs a barrier up to their understanding of the piece.

Finally, I think we have to start questioning and updating some outdated themes and morals presented in these operas. So many of them have stunningly beautiful moving music but contain themes of racism, misogyny, and elitism. If these themes are ÔÇÿcancellableÔÇÖ in modern films, television, and public discourse – why are they allowed in opera?

What was the inspiration behind The Magic Flute? 

There are two main influences on this Magic Flute – the world of pop culture, particularly gaming, and puzzle solving. I wanted to create a new fantasy world for these magical characters to live in, and the digital world with its vibrancy and eclecticism was a great place to start. 

Secondly was my great love of myth and creation fables. Stories like how the seasons came to be, or why the sun sets in the evening have always held a romance and alternative, fantastical logic for our world. They allow us to read situations from a different perspective, and therefore cast new light on a problem. So I re-cast this Magic Flute as a story of the Night and Day; two rival palaces who both stand for very different morals and beliefs. The monarchs share a daughter, and it is this daughterÔÇÖs quest to break down the walls of the Night and Day that lead to the creation of Twilight and Dawn.

What has the creative process of The Magic Flute been like? 

ItÔÇÖs been a joyful, creative, and freeing process. Once I and WNO confirmed this new interpretation and translation, I was so excited to get creating. A great barrier for me with the Magic Flute is the original text which contains racist, homophobic, and misogynist lines, and ends in the destruction of the overtly feminine character. Whilst I think there is a valid production to be made that confronts and examines these issues – itÔÇÖs hardly a production fit to tour the UK and appeal to families and first-time opera goers!

Off the back of ACEÔÇÖs recent announcements, how do you feel they will help/hinder young Opera creators?┬á

I have to remain an optimist in these times, and that the ACE announcement will allow the smaller, fresher companies to have some airtime and some coverage. It should also prove that opera HAS to change and adapt and that the UK audience doesnÔÇÖt want what our industry has to offer. I think if we radically rethink how we present opera, from content to performance method, we could be looking to a very exciting future.

As proved with much of the broadsheet coverage of this opera – the greatest threat to this art form is from within – the elite set of privileged who want to keep opera behind its ornate frame and preserve it in all its inaccessible traditions. My biggest fear is that young opera creators, like myself, will be forced out, the flame of our creativity stamped on before itÔÇÖs even taken hold. But we must stay strong, and listen to the voices of our peers and our target audiences: change is coming, and opera must adapt to survive.

What would you advise people getting into opera for the first time, either as a performer or spectator? 

Have fun, and enjoy yourself. Opera has a horrible reputation for being stuffy and boring – which if you find the right show or the right set of creatives, is completely untrue. I think everyone should have more fun with opera – it can give us the greatest emotional experience if itÔÇÖs done right, and is the most impactful of all the dramatic arts.

Words by Sophie Revell