Hh14 — Is it time for a Canadian to run the Canadian Opera Company?
If so, here are the five Canadians we have in mind
WORDS BY GIANMARCO SEGATO
On June 12, one of Canada’s largest performing arts institutions, the Canadian Opera Company, sent an email to its donors announcing “Perryn Leech will be moving on from his role as General Director of the COC by mutual agreement.” The British administrator and former Managing Director of Houston Grand Opera had only joined the COC in 2021 so understandably, the news of his abrupt departure sent shock waves through the small, tight Canadian opera community. Leech’s predecessor, Alexander Neef, led the COC for 11 years before leaving in 2020 to become the new head of Opéra national de Paris. The process of searching for an arts leader of the calibre required to run a large opera company is long and expensive and now, the COC is faced with that ordeal once again.
Beyond that initial donor email, there has been no other communication from the company as to the reason for Leech’s sudden exit. Much speculation and gossip has ensued as one would expect within a community that cares deeply about the art form and is only too aware of the financial precarity on which it rests. Losing a leader, whatever his merits or faults, is never good in an industry whose survival depends on diminishing government support, an ageing donor base, and an unpredictable box office.
Leech’s departure has also reignited one of those evergreen Can-Culture debates that periodically bubble up, especially around the leadership of our larger performing arts institutions. Namely, isn’t it about time someone prioritised the hiring of a Canadian to lead the nation’s largest opera company? Especially one whose nationalist mandate is, after all, in its title?
Soon after the June 12 announcement, the social media feeds of Canadian opera artists and fans were filled with manifestos like this one from baritone Peter McGillivray:
When Leech was first announced as the COC’s leader in 2021, similar statements popped up on Facebook and X (formerly Twitter). Likewise, when Calgary Opera hired American Keith Cerny as their top administrator in 2018, only to see him abruptly depart eight months later to take a job as President and CEO of the Fort Worth Symphony. Situations like these rightly trigger discussions around the challenge of retaining non-Canadians in leadership roles due to a perceived lack of skin in the game, or pre-existing connections to the nation’s opera ecosystem.
And so, now would seem to be an opportune moment for the COC’s board to extend the ‘Canadian’ in its label to its top administrative role. At the moment, every other opera company in the country has a Canadian in all of its leading positions with the exception of Calgary Opera whose Music Director, Jonathan Brandani, is Italian, but whose CEO, Sue Elliott, is Canadian.
But before we drive down on our top Canadian picks for the COC role, a bit of a “yes…and…” needs to be added for context. There needs to be some acknowledgement of the company’s unique place within the Canadian opera landscape, and how this impacts the choice of candidates.
The COC has a budget that is 4–5 times the size of Canada’s next two largest companies, Opéra de Montréal and Vancouver Opera. Not to take anything away from the incredible work done in other parts of the country, the COC simply operates on a scale of production, engaging internationally renowned singers, directors and designers that is very different from what one finds in Victoria, Vancouver, Edmonton, Calgary, Winnipeg, Montréal and Québec City (Canada’s other largest opera centres). When searching for a new leader, the COC will need someone who can operate within international as well as national circles.
If we look at the company’s leadership before Leech, both Richard Bradshaw (Artistic and General Director from 1994 until his untimely death in 2007) and Alexander Neef (at the helm for 11 years from 2008-19) ran operations under a decidedly artistic lens. Bradshaw was first and foremost a conductor and Neef came from Paris Opera where he had been head of casting. Leech on the other hand entered opera from a different angle in technical production. In a 2021 interview with the Toronto Star, Leech himself acknowledged the contrast with his predecessor: “Alexander (Neef) is a real opera nerd. He spends his entire time listening and researching. He is a brilliant entrepreneur of opera. I came up through the ranks. I bring a practical way of working (to the job).”
Given Leech’s trajectory, there was much chatter at the time of his appointment as to who would lead the COC’s artistic vision. Its Music Director since 2009 has been German conductor Johannes Debus who, in recent seasons, has taken a less public role. It’s unclear how far his watch extends in terms of artistic planning, choice of productions, and hiring of singers and guest conductors. COC Director of Artistic Planning Roberto Mauro is an internationally-connected casting director, but again, it’s not known how much influence he had within the current regime.
If the COC maintains status quo in opting for a singular leader, it will once again find itself having to choose between a more corporate ‘CEO’ type like Leech, or someone from a more artistic realm—a conductor, former singer, or stage director. This scenario creates more of a challenge when seeking a Canadian candidate. While Canada punches above its weight in producing international calibre singers like Barbara Hannigan, Jane Archibald, Ben Heppner, Teresa Stratas, Michael Schade, Richard Margison and Etienne Dupuis (to name a very small group), it would be much harder to come up with a similar list of top-level Canadian opera administrators.
It’s common for opera companies to split leadership roles along the lines of finance/operations versus artistic considerations. This is the case in Victoria, Edmonton, Calgary, and Montréal. A similar division of church and state at the COC would open the door for the internationally-plugged-in CEO it seems to require, but also, for a more ear-to-the-ground Canadian artistic lead. An Artistic Director already familiar with Canada’s opera artists (established and emerging), composers, training programs, funding models and donor base could pay off when it comes to retention and community connection.
With these parameters in mind, below is our list of top five picks for a future Canadian leader of the COC in alphabetical order, with A-B-C ratings across the following variables:
Experience ─ quantity and quality of experience in both administrative and creative roles in operatic production.
Canadian Network ─ breadth and depth of their connection with Canada’s opera/classical music ecosystem.
Creativity ─ demonstrated track record of boundary-pushing productions for a diverse audience demographic.
Relatability ─ a compelling storyteller with the ability to be a public-facing and charismatic spokesperson.
International Network ─ breadth and depth of their connection with international opera/classical talent, supporting the roles of the CEO and Casting Director.
Patrick Corrigan
General Director of Opéra de Montréal since 2016 and CEO of Pacific Opera Victoria from 2010-16, Corrigan has a strong track record in Montréal of presenting 20th-century works and new Canadian commissions. OdeM premiered La Reine-garçon in 2024 which will be remounted at the COC in 2025. Corrigan is rumoured1 to have sought the position during the last search and should be considered a strong candidate this round.
David Devan
In many ways, this Canadian leader of Opera Philadelphia (from 2011-24) should be the front-runner. It’s no secret that he was a finalist in 2020. Among Devan’s many achievements was the creation of Opera Philadelphia’s innovative “O” festival of contemporary, innovative works presented in unconventional spaces throughout the city. However, Devan has launched a successful new career as an arts consultant and may not want to take on the burden of running a company again so soon.
Joel Ivany
Artistic Director of Edmonton Opera since 2021, Director of Opera at the Banff Centre since 2014 and co-founder of Canada’s most successful indie company, Against the Grain Theatre. If the COC were to consider a dedicated artistic director role, Ivany would have to be one of the favourites. His roots are in opera directing (with two mainstage COC shows to his credit) as corroborated by his recent signing with American artist agency Stratagem. This could signal Ivany’s desire to amplify his directing credits which would be difficult to pursue simultaneously with the COC role.
Julia Noulin-Mérat
French, American, and Canadian opera producer and General Director & CEO of Opera Columbus. Much of Noulin-Mérat’s work involves site-specific installations including an immersive Pagliacci experience on fairgrounds with a circus tent at Boston Lyric Opera where she was Associate Producer for 8 years. An avid commissioner of new opera, most of her career has been US-based and the Opera Columbus appointment is relatively new, but this would be a bold and inspiring choice.
Ian Rye
CEO of Pacific Opera Victoria since 2016, Rye has helped push the boundaries of an opera company’s role with the community. With its Civic Engagement Artist Residency and Pop Up Opera outdoor summer concerts, Rye has truly delivered in taking opera off of the proscenium stage and into the city. It’s worth noting that when Leech was first hired, then chair of the COC Succession Committee, Colleen Sexsmith touted how his “values closely mirror our own, particularly when it comes to breaking down barriers.” If this is still a priority for the company, they’ll want to pay attention to Rye’s proven track record.
SUMMARY
HONOURABLE MENTIONS
Sue Elliott
Newly-minted General Director & CEO of Calgary Opera from late 2023. Elliott has a strong background in opera education and the commissioning of new works, notably at Leech’s former company, Houston Grand Opera, where she instigated the world’s first mariachi opera, Cruzar le cara de la luna. But having just arrived in Calgary, the timing might not be right.
Michael Hidetoshi Mori
Artistic Director of Tapestry Opera since 2014, Mori is at the forefront of new opera works in Canada. An experienced stage director and administrator, it’s difficult to know if the rigours of running a mainstream company would appeal to this opera creative.
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Patrick Corrigan did not seek the position during the last search.
Patrick Corrigan did not seek the position during the last search. Thanks for the B+.
Excellent analysis. However, amid all the ballyhoo about hiring a Canadian I have yet to hear what problem hiring a Canadian is a solution for! Will a Canadian GD stem declining box office (down 1/3 since 2009/10)? Will a Canadian miraculously squeeze more cash out of government or donors? Will hiring a Canadian bring world class opera (as opposed to warmed over Chicago) to the Four Seasons stage? I'm not at all against hiring a Canadian if they can find one who can do a great job and is willing to join a (by global standards) rather small opera company.