Stepping into opera leadership was not just a career move for me; it was a mission to connect Australian audiences with our talented artists and to harness the power of operatic storytelling for today’s viewers. As a creative producer, I took on the role of a catalyst for opportunity, nurturing rising stars while challenging established artists to embrace fresh roles. This journey has been deeply personal, rooted in my love for high-quality opera, which began when I received my first professional singing contract, often at great personal sacrifice.
Fifteen years ago, being a female leader in the opera world was considered outrageous. Even with my credentials as a principal artist with our national company, I faced scrutiny and suspicion when I dared to start my own company. The prevailing belief seemed to be that a female singer could only aspire to sing, not to lead or innovate. Yet, each success fuelled my ambition, pushing me to expand my horizons beyond what I had initially imagined.
The path has been as rewarding as it has been challenging. In Australia, an undercurrent of disregard for artists permeates the entire sector. Budget cuts lead to shorter contracts and increased burdens on individual performers, who are often without the necessary support or financial capacity to maintain the high quality expected of them. Only a privileged few can afford the luxury of dedicated coaches and ample preparation time.
Perhaps most concerning is the scarcity of Australian singers in paid, ongoing opera leadership positions in Australia. Since Lyndon Terracini's departure, I may be the only full-time singer-artist in such a role. This represents a significant missed opportunity, particularly for our national company. We have a wealth of experienced performers, yet there is a glaring lack of "talent spotting" for roles beyond the stage. Unlike in sports or ballet, opera lacks a clear pathway for performers to transition into leadership—a gap I have long sought to address.
I am not a self-promoter; time devoted to my work has always been about achieving success for ACOCO as a company of artists and for our audiences, who often differ from those attending the Opera Australia or other state companies. My journey stands as a testament to the untapped potential within our opera community. It is time we recognise the value of Australian female artistic leadership and create structures to nurture it, ensuring a vibrant future for Australian opera - at home, as part of the global stage.
Apathy and narrow engagement have led to a failure to recognise the talent at hand. Perhaps it is easier to ignore the possibility that there might be different—and perhaps better—ways of doing things, in case it challenges everything there ever was... Or maybe the fear of ambitious female artists, reminiscent of the plots of traditional operas and inevitably ending in downfall of someone, keeps the status quo.
As I reflect on my ongoing, unfinished journey, I remain committed to advocating for change within the opera community. By recognising and nurturing the talent of female leaders, and the multiple skills of singers in general, we can pave the way for a more inclusive and dynamic future for Australian opera that spans an entire working life.