On the day I meet Oliver Mears, the opera director at Covent Garden, I am still filled with excitement. The previous evening, I attended Wagner’s monumental work, Siegfried, the third installment of the Ring cycle. Spanning nearly six hours, the performance transports audiences into a realm of deities, giants, heroic figures, and strong female warriors, while also exploring deeply emotional human connections. Featuring the outstanding Andreas Schager in the leading role among a talented cast, it showcased the Royal Opera at its finest. As Mears makes his way to his office, he navigates the intricate backstage area where singers are rehearsing, costume staff are finalizing adjustments, and a few mice scurry through the canteen, adding a touch of artistic charm to the atmosphere—quite the paradise, despite the uninvited guests.
Mears shares insights about the upcoming season, which promises an array of operatic offerings. Notable productions include a new rendition of Parsifal, with music directed by Jakub Hrůša and directed by the “brilliantly charismatic” Evgeny Titov, making his debut at the venue. Additionally, a fresh production of Verdi’s Un Ballo in Maschera will be helmed by the “stylish and rigorous” German director Philipp Stölzl. The acclaimed production of Janáček’s Káťa Kabanová by Richard Jones will also make a return, conducted by Hrůša, whose interpretation of Janáček’s Jenůfa last season left a lasting impression on me.
Following the success of Mark-Anthony Turnage’s Festen last year—a powerful adaptation of Thomas Vinterberg’s film that unveils a disturbing family secret—there will be no new operatic premieres on the main stage for the upcoming season. Mears expresses that, ideally, he would love to introduce a couple of new pieces each season if finances allowed, but the reality is that each major new work, whether it’s Festen or Kaija Saariaho’s Innocence, which premiered in 2023, must be a “bullseye” given the current financial constraints.
This situation highlights the significant impact of recent budget cuts from Arts Council England on the national opera landscape. With less touring from Glyndebourne and Welsh National Opera, and English National Opera relocating from London to Greater Manchester, Mears acknowledges that a robust network of opera companies is essential for mutual support. He emphasizes the importance of the Royal Opera’s role in fostering new talent among emerging opera composers. Recent successful small-scale productions include Philip Venables’ 4.48 Psychosis, which is set for a revival next season, as well as Oliver Leith’s Last Days, which premiered four years ago and returned to the Linbury in December.
However, the initiative that facilitated these works—a partnership with the Guildhall School of Music and Drama—has been suspended, leading to diminished opportunities across the board. Mears stresses the importance of generating original work, stating that they have made a significant investment in research and development. He is keen on discovering pieces that will keep audiences “on the edge of their seats.” He critiques contemporary operas that tend to lack contrast and variety in vocal compositions, suggesting that merely enlisting a friend or poet for a libretto may not always yield successful results. While he refrains from naming specific works that have failed to engage him, he acknowledges that some poets and friends can indeed craft excellent librettos, citing notable examples from the past.
Currently, the Royal Opera is working on one main-stage commission with a UK composer and is in discussions with another. Mears notes that there are “literally dozens of different composers” at various stages of their careers, but he prefers to keep their identities under wraps for now. I am eager to see how these research and development efforts will evolve into formal commissions.
Outside the Royal Opera House, the world is grappling with conflict, political strife, and violence—realities that Wagner portrayed with striking accuracy, beyond the surface-level magic of his narratives. Covent Garden has not escaped the repercussions of these events. Last July, during an opera curtain call, a performer displayed a Palestinian flag, prompting Mears to intervene and attempt to confiscate it. This incident, captured on numerous audience smartphones, quickly made headlines.
Mears reflects on his reaction, stating, “The curtain call is not a place for an impromptu personal political protest, especially when someone could be perceived as representing the entire organization.” He stands by his principles but acknowledges that the situation was “messy and unfortunate.” He suggests there could have been alternative responses, such as lowering the curtain, which is now the protocol for similar incidents in the future. While I sympathize with the difficult position Mears found himself in, 182 of his Royal Ballet and Opera colleagues signed an open letter criticizing his “visible anger” while commending the “moral clarity” of the performer, dancer Daniel Perry. Perry claimed that Mears told him he would never work at the Royal Opera again. Mears, however, refrains from discussing any professional conversations that may or may not have occurred.
I am intrigued by the Royal Ballet and Opera’s position on political expressions. Following Russia’s invasion of Ukraine, the organization demonstrated unequivocal support by raising blue-and-yellow flags and playing the national anthem. Yet, this season—and again next season in Mears’s own production of La Gioconda—Russian soprano Anna Netrebko will perform. Netrebko has previously received accolades from Russian President Vladimir Putin and has been associated with his supporters during elections in 2012 and 2018, raising questions about the consistency of political expressions within the institution.
