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Why Opera Education?. PROVISIONAL REPORT FROM WORKING GROUP 3. Dr Valerie Tee, Professor Peter Tomlinson, Ann Laenen, Katie Tearle, Maria Larsdotter. England. 1. 1. 1. 4. 1. 2. 3. 2. 1. 3. 5. 1. Netherlands. Wales. Scotland. Norway. Germany. Belgium. Sweden. Spain. Italy.
PROVISIONAL REPORT FROMWORKINGGROUP 3
Dr Valerie Tee, Professor Peter Tomlinson,
Ann Laenen, Katie Tearle, Maria Larsdotter
Number of Opera Companies by Country
The opera companies within RESEO included a full range of sizes of opera houses, touring companies, festival and youth companies.
1. the language expertise of the WG3 core members
2. the time available during March to carry out the interviews
3. a range of European countries
‘Why opera education?'
Company Number of interviewees
TOTAL SAMPLE: 21
1. To convey the passion and emotion of opera
2. To maintain opera heritage as well as develop the art form
3. To develop opera company artists
4. To link 'education' to other parts of an opera company
5. The school curriculum - a task for an opera company?
Heritage Responses :
However, there is also the view that:
The impact of this work on the artists is also considered:
'Artists who never get the chance to be soloists can work in small scale ensembles
and be soloists - it really challenges artists and then they accept more challenges for
the main stage.'
'We can co-exist with the formal education system, we can complement it, work with it, collaborate with it, support it, but not replace it.’
Yes - because:
No - because:
‘I'm less interested in the existing audience. They come no matter what. The others outside interest me the most. The others outside interest me the most. To catch their attention, to give them the chance to discover Opera, that is the challenge, that is what gives me energy.’
‘Opera is enormous people in Viking helmets singing Shakespeare in Latin. It is our job to dispel this image!’
‘To create an audience that thinks more, that demands more, has an appetite for discovery and arrives ready to be surprised.’
‘Opera education is not just about developing audiences but we’ve got to develop the art form because it is a living art form and we can’t just have everyone doing ‘La Boheme’ every year. It needs to be fed with new works and new ideas.’
‘ What is new for one opera company may have been established in another for many years.’
‘To me an Opera House should above all be a place for creations.’
· To get opera into a dialogue with the world that surrounds it, by opening doors and windows and by looking for ways to get out of the Opera House into the community.
· To be able to do all kinds of experiments in the non-main scale part of the company.
‘Culture simply has a role to play against the bitterness and sourness aspects that constantly increase within society.’