The 25 Most Powerful Names In U.S. Opera

Profiled in the August 2006 Issue of Opera News from Playbill

The Executives
Plácido Domingo, Washington National Opera and Los Angeles Opera
Anthony Freud, Houston Grand Opera
Richard Gaddes, Santa Fe Opera
Peter Gelb, The Metropolitan Opera
David Gockley, San Francisco Opera
Speight Jenkins, Seattle Opera
William Mason, Lyric Opera of Chicago

The Managers
Matthew A. Epstein, Columbia Artists Management
Alec C. Treuhaft, IMG Artists
Ronald Wilford, Columbia Artists Management

The Maestros
James Conlon, Los Angeles Opera
James Levine, The Metropolitan Opera and Boston Symphony Orchestra
Stephen Lord, Opera Theatre of Saint Louis and Boston Lyric Opera
Patrick Summers, Houston Grand Opera

The Diva
Renée Fleming

The Image-Makers
Edgar Vincent, Vincent & Farrell Associates, Inc.
Deborah Voigt, soprano

The Geniuses
John Adams, composer
Peter Sellars, director
Julie Taymor, director and designer

The Phantom
Maria Callas, legend

The Media
The New York Times
60 Minutes
Tim Page, journalist

The Doctor
Evans Mirageas, Cincinnati Opera

and in related news…

Q & A: F. Paul Driscoll, Editor of Opera News, on Where Opera in the U.S. Is Headed 
By Matthew Westphal
16 Jul 2006
F. Paul Driscoll
photo by Beatriz Schiller

“The reason we decided to do this issue now”, says Opera News Editor-in-Chief F. Paul Driscoll about the August 2006 “Power Issue”, featuring the magazine’s list of the 25 most powerful people in opera in the United States, “is that August 1 is when Peter Gelb takes the general manager’s job officially at the Metropolitan Opera. While that represents a changing of the guard at the biggest job in the classical music industry, there are lots of other big changes going on. There’s new management in many other houses, including major companies in Houston and San Francisco as well as dynamic smaller companies such as Atlanta Opera and Madison Opera. And everyone’s talking about the same thing and asking the same questions: What’s the future of the art-form? Where are new audiences going to come from? How are we going to maintain the cultural relevance of opera in the United States? In response to this compelling scenario we made a list of 25 names that represent power in the industry now as the industry looks forward.”

more at Playbill


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