Opera is an artistic form beloved by many millions around the world, playing a significant role in international cultural relations and understanding. It has been used as a tool for cultural diplomacy, where performances serve as a means to enhance international relations, promote peace and build bridges between nations. Through cultural exchange and collaborations, opera can help promote mutual respect and understanding among countries. Overall, opera’s significance lies in its ability to transcend boundaries, foster dialogue and cultivate a shared appreciation for diversity and artistic expression on a global scale. I know this from my own experiences as a conductor, pianist and artistic director but also from the history of this unique art form as well.
The first instrument is the voice, making singing the oldest of the musical arts. It transcends all language barriers and the sound of the music can enter the soul directly. The Catholic Church knew this, using the voices of its monks to create a sacred space for worship. In Italy, in the late 16th century, the sacred vocal instrument shifted to the secular world to tell stories and opera was born. This new musical form knew no national boundaries and quickly spread throughout Europe to Germany, France and England.
“As an art form, opera is a rare and remarkable creation. For me, it expresses aspects of the human drama that cannot be expressed in any other way, or certainly not as beautifully.”
Luciano Pavarotti
Opera was always an international art form, bringing together stories and languages from different cultures on stages throughout the world. Lorenzo Da Ponte, the librettist for three of Mozart’s most famous operas, The Marriage of Figaro, Don Giovanni and Così fan Tutte, emigrated to America in 1805 to New York City. He became a professor of Italian literature at Columbia College and put on the first performance of Don Giovanni in the United States. As far as opera is concerned, it’s always a very small world.
This is true of its history but also of its present as well. If you go to any opera house right now, it’s a veritable U.N. of skilled vocal talent. On any given night, there could be an Armenian soprano, a Mexican baritone, or a Korean alto. Though they come from different backgrounds and countries, they’re all singing in the same language to achieve the same goal, to create a magical moment for the audience. On the opera stage, there are no national boundaries. Russians and Ukranians could be singing together, in Italian. The music of the opera is the universal language that can lead to lasting peace.
The soft diplomacy of music also helped my own family assimilate as immigrants to the United States from Russia in the 1950’s. My parents ended up in San Francisco, where I was born, and my father got a job at Gump’s, a local department store. Without knowing any English, he started as a janitor and eventually moved his way up to Vice President. Beyond just being a valued employee to his employer, Richard Gump, they also became close personal friends. Richard, a music aficionado, noticed the piano skills of a certain precocious five year old, me, and would often ask me to play for him. He was so impressed with my abilities that he gave our struggling immigrant family the ultimate gift, two tickets to the San Francisco Symphony. These seats, and all the performances that they allowed me to witness, opened the doors to a world of music that changed my life forever. My mother would usually take me to the concerts and these magical moments sparked my passion for music. This helped me nurture my talent for the piano and I played my first professional concert at age 11, at the very same San Francisco Symphony. After graduating from The Juilliard School, I started a career as a piano virtuoso, playing alongside symphonies throughout the world. Once again, the music knew no boundaries. In 1991, I was appointed the Music Director of the Moscow Chamber Orchestra, becoming the first American ever in that position in Russia. In 2004, I was also awarded the title, “Honored Artist in Russia,” something never before given to a non-Russian citizen. I was also awarded the Ellis Island Medal of Honor, given to immigrants, or children of immigrants, who have made outstanding contributions to the United States. As I’ve spent my career traveling the world, I’ve always believed that music can serve as the ultimate ambassador.
Currently, I’m the Music Director and Principal Conductor of the New York City Opera. Opera is an older art form and we have to celebrate its history. But, if it’s going to have a future, we also have to innovate opera for the modern audience. We’ve done this at the New York City Opera with new pieces focused on modern stories, such as operas about Malcolm X and Stonewall. We also need to use technology to reach new audiences around the world and make opera more accessible. Apple has bought some of the biggest classical music libraries, allowing the music to be streamed on iTunes. Operas themselves can be streamed and have been shown live in movie theaters around the world. I’m also developing a global television series with Barry Lederman and Hayley Babcock to showcase the inner workings of our world.
All of us involved in this art form burn with the passion of making it viable for modern times. We have to grow the audience, making it more accessible to more people via any means possible. Streaming opera is great and necessary, but there is still nothing like the spontaneity of a live performance. You need to be in that audience to recognize the artistry that’s required to put on such a show. Artists don’t get into opera to make a lot of money, they do it for the passion of continuing this constantly evolving art form. And, if it’s going to continue to thrive and grow, then its future lies in the hands of the next generation.
Opera can bridge worlds and bring about greater global understanding, but in order to do that, it has to survive. And, the only way for that to happen is for all of us to work together. We all must become cultural ambassadors for opera. Because, as with many other fields of art, the speed of technological transformation and accompanying shrinkage of attention spans, pose a threat to build new audiences for the future. In addition, the decline of music education in schools means that many young people never receive exposure to opera or classical music in general.
So, what can be done? We all need to help share the beauty and richness of this art form with diverse audiences around the world. This starts with partnering with opera institutions to organize performances, workshops and masterclasses in different countries. Collaborations with local organizations can help introduce opera to new audiences and foster cultural exchange. Additionally, we need to encourage and support young opera singers, musicians and directors from around the world by providing opportunities for training, mentorship and performance. Investing in emerging talent can help cultivate a new generation of opera enthusiasts and promote artistic exchange. And, it can also lead to their musical success outside of opera. Some of the biggest pop stars in the world trained as opera singers. These include Lady Gaga, Katy Perry, Elton John, Ariana Grande, Ed Sheeran and many others. Opera created their foundation and we also must increase educational inititatives about opera as well. Providing opportunities for students and the public to learn more about opera’s history, music and theatrical elements can deepen appreciation and understanding of the art form.
We must also continue to use opera as a tool for cultural diplomacy by organizing international tours, collaborations and cultural exchanges that showcase the diversity and artistry of opera from different traditions.This can foster mutual understanding and build bridges between communities. In addition, we need to emphasize the diversity of opera repertoire, artists and stories from different cultures and perspectives. Celebrating diversity in opera can make the art form more accessible and inclusive to audiences worldwide. It’s a global art form but this has to happen on the local level, connecting with communities and grassroots organizations to develop outreach programs, community performances, and initiatives that bring opera to diverse audiences, including underserved populations.
Some of the headwinds facing the survival of opera are the challenges of our digital world. But, we can also use this technology to our advantage, leveraging digital platforms and social media to reach global audiences with opera content, behind-the-scenes insights, artist profiles and performance highlights. Utilizing online channels can expand the reach of the opera and engage audiences worldwide. By employing all of these strategies and embracing the role of Cultural Ambassador for opera, we can all help foster a deeper appreciation for this art form, facilitate cross-cultural dialogue and promote artistic exchange on a global scale.
But, there is also one other thing that we must all do to ensure the longevity of this art form, pass on the love of opera to the next generation. In my view, introducing opera to children and creating opera specifically for young audiences should play a crucial role in cultivating the audience of the future. By exposing children to opera at a young age, we can instill an appreciation for the form early on. Familiarity from childhood can lead to a lifelong interest in and affinity for opera as people grow older. Children’s operas often incorporate educational elements, teaching young audiences about music, storytelling, history and other cultural aspects in an engaging and interactive way. This can inspire children to explore and learn more about opera and the performing arts. Another benefit of operas aimed at children is that they often stimulate creativity and imagination through colorful costumes, imaginative sets and fantastical storytelling. Encouraging children to engage with these creative elements can foster a love for artistic expression and storytelling.
Children’s operas frequently address themes of inclusivity, diversity and empathy, helping young audiences develop a broader perspective and appreciation for different cultures, language and perspectives. This can contribute to creating a more diverse and inclusive audience for opera in the future, something the medium urgently needs. By introducing children to opera in an accessible and engaging manner, we can inspire a new generation of opera fans who will continue to support and engage this art form as they grow older. Cultivating a diverse and enthusiastic audience base is essential for the long-term sustainability of opera. And, as opera thrives and grows with this new generation, it can continue playing its part in bridging divides and bringing about greater global understanding.
About Constatine Obelian:
Born in San Francisco to Russian and Armenian émigré parents, Orbelian Orbelian made his debut as a piano prodigy with the San Francisco Symphony at the age of 11. After graduating from The Juilliard School in New York, he embarked on a career as a concert pianist appearing with major symphony orchestras throughout the U.S., U.K., Europe, and the Soviet Union. His recording of the Khachaturian piano concerto with conductor Neeme Järvi won “Best Concerto Recording of the Year” award in the United Kingdom. He was also a guest conductor for the American Russian Young Artists Orchestra.
Orbelian’s appointment in 1991 as music director of the Moscow Chamber Orchestra was a breakthrough event: he is the first American ever to become music director of an ensemble in Russia. He was later the music director of the Philharmonia of Russia and is the founder of the annual Palaces of St. Petersburg International Music Festival. Orbelian has been principal conductor of the Kaunas City Symphony Orchestra in Lithuania since 2014, and in 2016 he also became General and artistic director of the State Academic Opera and Ballet Theater in Yerevan, Armenia. His appointment in June 2021 to the leadership posts at New York City Opera is a landmark in efforts to revive the company’s performance profile.
A tireless champion of Russian-American cultural exchange and international ambassadorship through his worldwide tours, Orbelian was awarded the coveted title “Honored Artist of Russia” in 2004, a title never before bestowed on a non-Russian citizen. In May 2010, Orbelian led the opening Ceremonial Concert for the Cultural Olympics in Sochi — the first event setting the stage for Russia’s hosting of the Olympic Games in 2014.
