New Mexico

OI Insights | Why Santa Fe Opera’s New Hire is Seismically Good News

(Santa Fe, NM) - On February 12th, The Santa Fe Opera announced that it had hired The Dallas Opera’s David Lomelí as its new Chief Artistic Officer, consolidating the roles previously held by Artistic Director Alexander Neef (now leading Opéra de Paris) and Director of Artistic Administration Brad Woolbright, who retired in December 2020.

Lomeli.jpg

Santa Fe Opera Appoints Chief Artistic Officer

By Mark Tiarks for The New Mexican (13FEB2021)

Lomelí’s years of artistic and artistic administration success, which includes a robust, globally-recognized singing career and the founding and exponential growth of The Dallas Opera’s wildly successful, YouTube-based TDO Network (boasting 28 weekly shows and 90 million views) is complimented by international marketing and computer science engineering degrees from Spain and Mexico, respectively. A seismic new hire, in our opinion. Lomelí, a quadruple threat rarely seen in opera, arrives in Santa Fe at a pivotal and eventful moment in the company’s history.

Santa Fe is a unique house with a unique story. A summer festival that functions more like a full-season, A-level house, we branded Santa Fe as the Davos-Sundance of Opera, based upon where it sits, literally and figuratively, in the global opera universe. For most opera companies and professionals, 2020 was a shared annus horribilis. But, Santa Fe punched well above its weight, pivoting to a hybrid, digital summer apprentices program, as well as the Songs from The Santa Fe Opera series, which celebrated 2020’s five (5), originally scheduled operas from its high desert stage with remote performances and interviews from around the world, notably before Metropolitan' Opera’s Met Stars Live debuted.

In the fall, stunning Opera For All Voices programming arrived. “Is This America,” a film showcasing Chandler Carter and Diana Solomon-Glover’s “This Little Light of Mine,” a one-act opera portraying key events in the life of voting rights activist Fannie Lou Hamer, screened in partnership with CCA Santa Fe just before the November election. In February, OFAV’s Key Change, one of the country’s best podcasts, began its third season exploring the development of new OFAV works while keeping a finger on the pulse of social justice, immigration and the state of our union (more on this breakthrough podcast soon).

With an eye to the coming summer season, General Director Robert K. Meya shared that Santa Fe Opera is heavily invested in a COVID-safe 2021 season, having created a new position - COVID Compliance and Safety Officer - to manage new protocols developed with CHRISTUS St. Vincent, partnering with Production Safe Zone “to conduct testing and help maintain performer and worker social distancing protocols.”

Santa Fe Opera is effectively in the process of creating the world premiere of a proprietary, safety-first opera brand experience - a thrilling business, health, science, performing arts and human interest story like no other, and just in time for Mr. Lomelí’s arrival. We’ve no inside information on Mr. Lomelí’s full Chief Artistic Officer responsibilities or his specific plans, but OI Insights would like to the first to highlight some clear, additional business wins. Full disclosure: we’ve not yet had the opportunity to formally meet Mr. Lomelí and these thoughts are based upon publicly available information.

Optics

I’m hard pressed to think of another US-based, Latinx person at Mr. Lomelí’s level of artistry, artistic leadership and experience in the business of opera (this Mexican-American cheered when he heard the news). Santa Fe Opera is an increasingly diverse place to work, especially when fully staffed during the season, but leadership positions haven’t always been as representative of multicultural New Mexico. Given this, Mr. Lomelí’s arrival is right on time; he will not only build upon his success at The Dallas Opera and abroad, but bring critical diversity insights and best practices with him. Per Opera News:

“His tenure at The Dallas Opera marked the first time in the history of an American opera company that a Latino has held a top position at a Level 1 opera company. Lomelí serves as a Strategic Committee Member with OPERA America’s ALAANA (African, Latinx, Arab, Asian and Native American) Steering Committee and is committed to enhancing opera and the opera industry through increased diversity and equitable practices.”

- Opera News, February 12, 2021

Mr. Lomelí’s standing in the industry as a Latinx person, coupled with the aforementioned OPERA America service, it would not be a stretch to say that he could be Santa Fe Opera’s de facto Chief Diversity Officer. At the very least, he will be able to provide fellow members of Santa Fe leadership, his Human Resources colleagues (as well as board members and staff) with on point guidance, based upon his experience with these best practices in the opera space, which every American company worth its salt must actively engage, embrace and grow.

Expertise

As detailed in various articles written about Mr. Lomelí’s impending arrival, he brings a diversified portfolio of experience, credentials and business success to the table. But no two companies are the same and Santa Fe Opera presents unique opportunities.

Over the course of his career, Lomelí appears to have taken calculated risks and forged new paths. Based upon his use of TDO social media, he’s effectively become one of its most recognized faces, and his clear understanding of public relations - his use of personal PR as well as a publicist - demonstrates the importance he places on telling a compelling, real-time story not only for himself but for his brand. Applying this to TDO Network’s raison d’être, the initiative was born due to a lack of substantial TDO video archives and a reluctance to begin creating expensive digital opera. Given these realities, Lomelí and his team ideated and executed a programming vision that not only employs talented creatives, many of whom are out of work opera singers, but also creates real-time space and conversation around some of opera and American culture’s hot button topics - equity, inequality and race - during one of our nation’s most hot button times (cue the OFAV Key Change synergies).

Shockingly, there are only a few other regularly-seen ‘face of the brand’ individuals in opera. Some who come to mind are San Francisco Opera’s Matthew Shilvock, Fort Worth Opera’s Afton Battle, Glimmerglass Festival’s Francesca Zambello and a certain gent in New York City. As General Director, Mr. Meya appeared throughout 2020’s digital programming and is regularly identified as Santa Fe Opera’s chief executive. However, given Mr. Lomelí’s regular #FOTB appearances across the TDO Network and his deft use of social media and public relations for himself and his brand, SFO is almost certainly considering how to harness the success of this opera world influencer, recreating and growing the global digital success first born in Dallas .

Even with high-dollar investments in a COVID-safe SFO brand experience this summer, there’s every reason for the company to also invest in its digital capabilities now that the pandemic has forever changed how we consume - and accept - alternatives to live performance. Leveraging Lomelí’s global network, SFO could digitally introduce itself into new homes, regions and spheres of influence (i.e. global business), elevating itself to the worldwide omnimedia prominence and resonance it deserves, while still remaining place-based and fully associated with The City Different. If, of course, Santa Fe Opera wants this, as we stated in our 2019 blog. The results could be on par with TDO Network and Met Opera, making Santa Fe Opera a Top Five, globally-recognized opera brand with the ability to monetize its prominence (today’s Scott Galloway-esque prediction). We’re hoping SFO is audacious enough to consider and make it a reality.

Vision

Continuing in the spirit of the last section and based upon his reported global consulting, Mr. Lomelí undoubtedly sees the world as his operating environment, not just New Mexico, the Southwest or even the United States. Santa Fe Opera has been steadily building its working relationships with Europe since Mr. Meya became General Director, which has been exciting to watch and critical to the growth of SFO’s global footprint. In addition to key European relationships, Mr. Lomelí’s ready access to and standing in the Spanish-speaking opera, business and cultural worlds means that Santa Fe Opera could become The Americas’ most influential opera company. A thought: Monocle Magazine’s annual soft-power issue ranks “how well countries project themselves abroad.” In the same way, with a bilingual digital network, Santa Fe Opera could create indelible velocity of message, projecting its own brand of soft, multi-cultural power around the world, but specifically across North and Latin America, becoming a unifying force for American opera and, more critically, Opera in the Americas. Our recent, frank assessment of this country’s flagship opera company makes this a strategic objective worth considering and most certainly a goal that’s within reach. If I was formally advising the company, this would be the hill I’d jump up and down upon.

Mr. Lomeli from a recent ABC News article, speaking to opera generally and The Dallas Opera Network:

"It's a business that doesn't have a lot of clues on how to do this," Lomeli said. "We debunk myths, and a lot of people who are following us are around the globe…singers or people who are just starting (to watch)."

Mr. Lomeli probably recognizes that the opera world is watching and studying his particular approach to opera innovation (as they should), while he continues to write the book on building a dominant, glocal brand, perhaps even beyond opera-world recognition. As suggested above, the bilingual or multi-lingual expansion and exportation of Santa Fe Opera’s one of a kind ethos, with emphasis on multi-cultural New Mexico, could power connection through bold performance, pop up experiences, brand partnerships and omnimedia, scaling the brand to new and dizzying heights.

A clue: how do national tourism efforts work in the global travel market?

JM for OI Insights

CCA Santa Fe Brings "UnShakeable" Hope to Our Pandemic Lives

Santa Fe Opera illustration; renderings by Wilberth Gonzalez | The Santa Fe New Mexican, April 8, 2016

Santa Fe Opera illustration; renderings by Wilberth Gonzalez | The Santa Fe New Mexican, April 8, 2016

(Santa Fe, NM) - We’re coming into our seventh month of an out of control American pandemic. When the reality of COVID-19 became clear in March, one of the very first things that came to mind was composer Joe Illick’s and liberettist Andrea Fellows Fineberg’s opera UnShakeable; I had the opportunity to see its 2019 production at SITE Santa Fe. The global pandemic in Illick and Fellows-Fineberg’s opera is different, but just as devastating; “Erasure” leaves an indelible mark, robbing human beings of their memories, identities and shared experiences. The same is true for COVID-19, but with the added possibility of death. In both cases, human history is impacted, altered, redirected.

To say I’m “thrilled” that the Center for Contemporary Arts in Santa Fe is screening UnShakeable as part of its pay-per-view “Living Room Series” tonight isn’t exactly right. “Grateful” is a better word, but hold that thought. From The Santa Fe Opera’s press release:

“Set in an abandoned theater in New Mexico 25 years in the future, UnShakeable is the story of Wyatt and Meridian, Shakespearean actors and former lovers who have varying degrees of memory loss due to Erasure, a viral pandemic resulting in memory loss. Separated from Meridian at the start of the viral pandemic, Wyatt has been searching for his love ever since. Exploring themes of memory, connection, and the power of story, UnShakeable incorporates language from some of Shakespeare’s iconic works to create a modern romance.”

In 2019, when I saw UnShakeable with good friends soprano Adelaide Boedecker and baritone Calvin Griffith singing the roles of Meridian and Wyatt, I was blown away its simplicity, complexity, music and story. All elements came together for this operagoer. Now, many months into the pandemic, the recollection of watching Addie and Calvin bring the piece’s themes to life makes the real-time weight of COVID-19 all too palpable.

Erasure.
Without fanfare.
Erasure
The game is up.
All that mattered,
Memory shattered.
All of the people I knew
Have vanished from my mind,
Vanished into thin air.
Who were my father and my mother? Did I have a sister or a brother?
All of my memory has faded away
And left no trace behind.
Did I have friends?
Was I ever in love?                                                                                                                             

Given ongoing coronavirus disease, death and resurgence, as well as the en masse loss of personal histories, experiences and interactions, our 2020 version of Erasure seems to have arrived.  Adding in socially-distant everything and a sometimes overwhelming fear of others, shorter, impactful operas like UnShakeable may help us collectively heal - or provide temporary, necessary respite - from the endless emergency. But I also try to remember that when I departed my 2019 UnShakeable experience, I did so with an overwhelming sense of hope and joy.

When I shared the development of this blog with Kathleen Clawson, UnShakeable’s Dramaturg and Stage Director, she wrote to share that the experience “remains one of my proudest artistic achievements and the happiest of collaborations.” UnShakeable’s Librettist Andrea Fellows Fineberg went to the heart of the piece. “When contemplating writing an opera in commemoration, you are in the domain of memory. Add that it is Shakespeare and the opera could become many things. What it became, though, is a love story.”

I’m beyond thankful that Ms. Fellows Fineberg sent me the UnShakeable libretto this week. I’d forgotten some of the most pivotal words and powerful moments she’d created, which echo something I’ve been doing since pandemic began. Every clear evening, I step outside to look up at the New Mexico stars, wishing for something good to come out of this, usually finding some hope before I go to sleep. Lately, I’ve started doing this while listening to a fave pop song on repeat, now my pandemic mediation.

“‘Cause love is love, it never ends. Can we all be as one again?”

So, yes. Love. Once you’ve seen UnShakeable, let’s follow Wyatt and Meridian’s good example, connecting as one through our personal “wishing stars.” They matter and they work. - JM


Opera Innovation asked several individuals involved with UnShakeable and this screening for their thoughts.

Jason Silverman, Cinematheque Director
Center for Contemporary Arts, Santa Fe

Why is this screening of “UnShakeable” especially important right now? Please also expand on the critical role CCA Santa Fe plays in the community.

“A functioning society depends on humans connecting with each other. That’s true in good times and bad. I believe cultural institutions in this difficult moment, as always, must continue to find innovative ways to bring us together, across boundaries, in ways that give us hope and energy. We’ll need that hope and that energy as we confront the enormous challenges we must face. The CCA and The Santa Fe Opera are just two of many cultural organizations that are finding new methods of connecting us. The work being done is, to me, essential, as artists and other deep thinkers hold many clues to solving our problems.” 

“The UnShakeable event is the 41st event in the CCA’s Living Room, and our second collaboration with Santa Fe Opera, and through these programs we’ve been able to create, I think, a new virtual gathering space where important ideas, expressed by passionate and committed artists, educators, activists and others, can be shared.” 

Could you speak to CCA Santa Fe’s mission, vision and history of collaboration with The Santa Fe Opera?

“The CCA and The Santa Fe Opera have been collaborating for most of my 16 years at the CCA, and these collaborations remain a highlight for the CCA family.  Andrea Fellows Fineberg and The Santa Fe Opera team are visionary and generous, and they are brilliant at executing programs that move audiences. Together, we’ve produced shows with live music, deep and meaningful panel discussions, family programs, strange opera films from around the planet … and we even celebrated Igor Stravinsky’s birthday with a giant cake!”

Jacquelyn Stucker, Soprano | Intermusica Artists

“I am so honored to have created the role of Meridian, and I look back on the premiere and revival with fondness and nostalgia. Memory diseases run on both sides of my family, and my experiences with an aunt, and uncle, and multiple grandparents with either Alzheimers or FTD made my involvement in this project deeply meaningful for me on a personal level. The Santa Fe Opera’s strong track record when it comes to producing new American works is unparalleled, and I love that they’ve combined their hallmark artistic integrity with the realities of memory disease, an important and complicated aspect of modern life.” - Jacquelyn Stucker, Soprano

Soprano Jacquelyn Stucker as Meridian in UnShakeable (2016) | Ms. Stucker represented by Intermusica. Photo: CCA Santa Fe

Soprano Jacquelyn Stucker as Meridian in UnShakeable (2016) | Ms. Stucker represented by Intermusica. Photo: CCA Santa Fe

Jarrett Ott, Baritone | IMG Artists

“Illick and Fellows Fineberg’s work holds a deep place in my heart. Years later, I find myself still humming or singing parts of Unshakeable. It triggers the emotions of dealing with the current circumstances we’re facing, but also provides hope that as a community we can find each other again. We need to keep searching diligently for our own new realities and creative selves. Hopefully our post-pandemic reality can be half as beautiful as Meridian and Wyatt’s.” - Jarrett Ott, Baritone

Baritone Jarrett Ott as Wyatt in UnShakeable (2016) | Mr. Ott is represented by IMG Artists

Baritone Jarrett Ott as Wyatt in UnShakeable (2016) | Mr. Ott is represented by IMG Artists

Soprano Adelaide Boedecker | Stratagem Artists

Bass Calvin Griffin | ADA Artist Management

“UnShakeable is near to my heart, because I was able to work with Joe (Illick) while it was being workshopped. It was such an honor and a thrill! As a result, it had even more of an impact on me, especially when Santa Fe (Opera) asked my husband Calvin Griffin and me to perform Joe and Andrea’s piece for the Spring 2019 tour. Being able to delve into a work that explores memory loss with a significant other was powerful, to say the least. Now, as we’re separated from loved ones due to COVID-19, we can identify with the loneliness that Wyatt and Meridian must’ve felt. What a poignant and beautiful story, showing us how love and music truly are essential in helping humanity heal and connect.” - Adelaide Boedecker, Soprano

Bass-Baritone Calvin Griffin (Wyatt) and Soprano Adelaide Boedecker (Meridian) in UnShakeable (2019)

Bass-Baritone Calvin Griffin (Wyatt) and Soprano Adelaide Boedecker (Meridian) in UnShakeable (2019)

WATCH UnShakeable

with Jacquelyn Stucker and Jarrett Ott

TONIGHT ONLY | FRI 28AUG via CCASantaFe.org

  • WHAT: Online screening of UnShakeable and a panel discussion with notable New Mexico poets presented by the Santa Fe Opera, Fort Worth Opera and Center for Contemporary Arts in Santa Fe, New Mexico.

  • WHEN: TONIGHT, Friday, August 28 at 7 pm MDT / 9PM EDT.

  • HOW: Interested parties may register via the CCA’s website. The cost of admission is $12.00.


If you’d like more UnShakeable, or miss tonight’s CCA Santa Fe performance, watch Adelaide Boedecker and Calvin Griffin’s UnShakeable (2019) performance at SITE Santa Fe.