Rapids and Anchor Points in Focus

The multiple crises of our time, which might be better described as one resulting multi-crisis, are also weighing heavily on cultural institutions and consequently demand responses from them - both self-directed solutions and offerings for the benefit of society as a whole. The funding crisis, especially because of a crisis in relevance, is one whose effects are likely to be the most direct and drastic. Creating networking and exchange opportunities is a proven approach to addressing such challenges together. 

 

This is where events like these come into play: No one is alone (to blame), and unexpected inspiration and synergies can be found when people come together, leading to better solutions. Therefore, the European umbrella organization for music theater, "Opera Europa", in collaboration with the hosting member theaters, organizes a conference twice a year. During this conference, representatives of over 230 member operas and festivals, especially leadership personnel from management, artistic administration, and technical teams, exchange ideas. During the Autumn Conference of 2023, titled "Troubled Waters", the emphasis was on fostering connections, capitalizing on synergies, and extending a heartfelt invitation for mutual learning. Symbolically, this shared European character of the conference was also illustrated by the connecting Øresund Bridge between Copenhagen and Malmö.

 

 

While the third day of the conference in Malmö was exclusively for participants from member theaters, the first two days in Copenhagen also welcomed interested professionals from the field. Kasper Holten, the CEO of the Royal Danish Theatre in Copenhagen, opened and closed this public part. In his dynamic and entertaining opening keynote, he provided a refreshingly contemporary assessment of today’s music theater: he advocated for "more” in music theater - more unconventional works, new experiments, openness to changing needs of urban society. This "more" is needed, especially to avoid slipping into a spiral of self-victimization due to "less funding" leading to "fewer productions" leading to "less audience" leading to "less significance, hence less funding". He encouraged confidence in the future, to present a more confident stance towards the public and supporting policies, instead of fearfully reducing the program to opera blockbusters and musicals. He argued that the (often declared dead) subscription model was not at its end, but as a flat-rate model, it already belonged to the daily reality of the streaming, car-sharing, and bike-sharing generation of  prospective opera-goers - a prime example that opera houses need to find solutions beyond existing mindsets. However, this requires significant adaptability from cultural institutions.

 

Furthermore, existing barriers to access must be identified and removed with a clear focus on providing a pleasant customer experience before, during, and after the opera visit: understandable language without opera jargon, easily accessible travel information, information about the (non-existent) dress code… This is especially important for a positive initial contact, which ultimately influences future visits. In conclusion, Kasper Holten presented a theater playground set to open in 2026, directly within the theater as a "third place", offering participatory activities for children, teenagers, and families - both for tourists who might return to explore their local theater programs and as a recreational option for local families, playing in the same league as Tivoli amusement park or SeaWorld.

 

 

Parallel to the conference program, the technology department of the Finnish National Opera Helsinki presented an impressive XR application for the production process of external directing teams. With technical support from the gaming industry and based on a 3D scan, the in-house stage and auditorium are virtually replicated. Stage design concepts and lighting moods can be created, discussed, and tested in more detail and at an earlier stage than is currently possible with scale models and extremely limited stage time for setup and lighting tests. The lighting effects change with the selected surface material. Safety training already takes place in this virtual stage space. Next, the application will be enhanced by incorporating gravity, i.e., considering weights for stage setups and materials hanging in the fly loft. Additionally, an inclusive implementation to improve accessibility for wheelchair users is in development.

• from rising energy costs and the transition to carbon-neutral operations,
• to unexpected and equally severe cuts in public funding and the necessity of cultural lobbying,
• to alternative financing options such as cultivating patronage groups and private sector interest in attention-worthy projects and innovation in general.