Opera Australia Introduces Three Familiar Faces As Incoming Leaders

Opera Australia Introduces Three Familiar Faces As Incoming Leaders
Image: Supplied/Opera Australia

Opera Australia has appointed a trio of new, yet familiar, leaders stepping into the company, today announcing a new CEO, music director and board chairman.

Alexander Budd has been appointed at the CEO, previously having worked at OA for 20 years in a variety of roles. He returns to OA after a stint as the Director of Canberra Theatre Centre.

“This company holds a special place in Australia’s cultural life, and its 70th anniversary invites us to think deeply about the role it will play in the decades ahead,” he said. “Opera Australia has the chance to redefine what opera means in contemporary Australia. Our responsibility is to ensure opera remains a living, relevant artform – one that challenges, excites and inspires audiences while nurturing pathways for artists and company colleagues who bring it to life.”

The board chair, Glyn Davis, is returning to OA after his appointment to the same role in 2021, only to renounce the position after being offered Secretary of the Department of the Prime Minister and Cabinet.

Outcoing Chair Rod Sims said he was delighted Davis agreed to come back to OA.

“His extensive experience and proven track record guiding Opera Australia through the changes the performing arts sector is facing, makes Glyn the ideal leader to help OA navigate our next important chapter,” he said.

Italian-born conductor and composer Andrea Battistoni will step in as the new music director, having first conducted for OA in 2015, at age 28.

Battistoni is recognised as one of the most esteemed conductors of his generation, and became the youngest conductor to perform at the Teatro alla Scala in Milan in 2012 at only 24 years of age. From 2014 to 2016, he was first guest conductor at the Teatro Carlo Felice in Genoa, and has held the position of principal conductor at the Tokyo Philharmonic Orchestra since 2016.

“Andrea’s combination of youth, artistry, and international experience has established him as a hugely respected conductor globally,” said Sims. “His highly anticipated appointment will be invaluable to OA’s continuing evolution and commitment to innovation and artistic excellence.”

New musical languages on the horizon for Battistoni

Battistoni is set to conduct the company’s upcoming productions of Madama Butterfly and Turandot, announced earlier this month as part of Opera Australia’s 70th anniversary, and said he was looking forward to reuniting with his Australian colleagues.

“While recognising the value and strength of the Italian repertoire, which will continue to be an essential component, I propose an expansion into other musical cultures,” he said on Tuesday. “We will aim to offer new stimuli to the audience, the orchestra and the chorus, allowing them to explore different musical languages, from Wagner to Britten, from the French masterpieces to new contemporary works.

“It’s also important OA maintains its status as an international house of excellence reaching for new horizons. I’ll be nurturing local talent as well as attracting international singers and directors with whom to share important projects.

“Innovating the repertoire, optimising production, promoting excellence and cultivating emerging talent will all be pillars of my activity at OA,” he said.

Battistoni plans to spend three months of the year working with OA, dividing his time between other commitments; Music Director at Teatro Regio of Turin, Chief Conductor at Tokyo Philharmonic and Composer in Residence at Opér Royal de Wallonie-Liège.

The re-introduction of these three familiar faces come after a turbulent year for OA, after artistic director, Jo Davies, and chief executive, Fiona Allan, both quit within a six month period.

However Sims was optimistic about the upcoming year for the company, and said Opera Australia was “in a position of strength”.

“The past twelve months have seen a significant financial recovery and performances that are critically acclaimed and selling to full houses, and the 2026 program has been well received,” he said. “Opera Australia is now on a sustainable footing and with strengthened leadership is well placed for a vibrant future.”

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