‘We want people on the edge of their seats’: Royal Opera boss Oliver Mears on the new season – and the controversies of the last

Royal Opera outlines ambitious 2026–27 season amid funding pressures and recent controversies

Royal Opera outlines ambitious 2026–27 season amid funding pressures and recent controversies

Oliver Mears, director of opera at the Royal Opera House in Covent Garden, has outlined the company’s forthcoming 2026–27 season while reflecting on a year marked by both artistic success and institutional controversy. The new programme includes major productions such as Wagner’s ‘Parsifal’ and the conclusion of Barrie Kosky’s acclaimed ‘Ring’ cycle, alongside new stagings of Verdi’s ‘Un Ballo in Maschera’ and Janáček’s ‘Kát’a Kabanová’. Despite the artistic ambition, there will be no main-stage operatic world premiere next season, a decision driven by financial constraints and the high cost and risk associated with new commissions.

Mears stresses that, in the current climate of Arts Council England cuts and reduced resources across UK opera companies, new works must be carefully chosen as potential “bullseyes” capable of strong audience impact. He highlights ongoing efforts to support emerging composers through research and development initiatives, even as some educational collaborations have been paused. Recent successes such as Philip Venables’ ‘4.48 Psychosis’ and Oliver Leith’s ‘Last Days’ are cited as examples of innovative contemporary opera that the company aims to build upon.

The interview also addresses political and cultural tensions at the Royal Opera House. Mears reflects on a widely reported incident in which a performer unfurled a Palestinian flag during a curtain call, leading to his intervention and subsequent criticism from staff. He defends his response while acknowledging protocol changes introduced afterwards. The discussion extends to the engagement of soprano Anna Netrebko, whose political associations with Russia have sparked debate, as well as the company’s broader attempts to maintain neutrality in sensitive geopolitical matters.

Mears concludes by emphasising his artistic vision: to create emotionally powerful productions that keep audiences fully engaged, describing opera at its best as an overwhelming and transformative experience.

Leave a Reply

Your email address will not be published. Required fields are marked *