I feel like living the dream! The producers of the latest opera I’m working on, Displaced: a Woolwhich Aresenal Opera, have just heard that English National Opera will associate produce the R&D showing! This means that they will provide us players from their orchestra FOR FREE, plus we can tag them on our advertising!

Every so often, I see composers asking on social media, “How do I get my opera produced by a company?” Here’s my answer, based on experience.

How can I get my opera performed by a company?

YOU CAN’T. IT’S IMPOSSIBLE. DON’T EVEN TRY!

Ok, that’s not true. That’s just what I tell myself in the darkest moments when it is hardest. But when I say it’s hard, I mean it’s really, really hard. Getting an opera produced requires fulfilling a complex set of conditions that go beyond luck. Let’s break it down.

When Should I Approach a Company?

Timing matters. If you’ve already composed an opera without a production agreement, your chances of getting it staged are extremely low. Companies want to be involved early, ideally before any music is written. This reduces risk for them and allows them to mould the piece to their needs. Some companies may also need to spend money on commissioning new works.

In my case, I’ve written three operas without prior agreements. Two I produced myself; one has never been performed and probably never will. As sad as I feel about it, it’s the reality of the risk I took. For Displaced…, we pitched just one substantial scene of the opera-in-progress at the Tête à Tête fringe festival. This low-risk showcase caught ENO’s interest as it aligned with industry expectations.

How Should I Approach a Company?

Don’t send unsolicited, completed operas to companies unless you have a really, really strong connection. Most of my commissions come through people seeing my work or via recommendations. Networking, building your portfolio, and engaging with the industry incrementally are crucial.

There’s no shortcut. Even exceptional talent only speeds the process slightly. For me, consistent effort over time has brought results. Displaced… gained traction because I had previously worked with ENO, and my collaborators had solid reputations and relationships within the industry.

Why Would a Company Want My Opera?

Ask yourself: why would this opera interest a company? The answer often hinges on three factors:

– WHO: Who’s behind the opera? Are the creators experienced, reputable, and known in the industry? Are other stakeholders involved?
– WHAT: What’s the opera about? Is it relevant, innovative, or aligned with the company’s goals? Is it feasible to produce?
– WHERE: Where could this opera fit? Would it suit a major opera house, a smaller venue, or even a unique setting like a factory or bus station?

For Displaced…, the producers, PJ Harris and Hannah Kumari, meticulously formulated the project’s “why.” Their connections, experience and rigorous approach meant their pitch has proved to be compelling for a lot of people. My involvement added my reputation and credibility to theirs, helping to attract further interest. But it all started with just two artists and an idea.

Conclusion

If you’re eager to write an opera without a commission, by all means scratch that time-consuming itch — but know it likely won’t be staged unless you produce it yourself. Start small and manageable. Build your producing muscles step by step, and over time, people might take notice. That’s what happened for me.

These days, I don’t compose operas without a commission. When I get ideas, I add them to my “Ideas Bank” for future pitches. It’s a more strategic, professional approach.

For early-career composers, opera singer David Leigh offers helpful advice on Quora with five clear steps. I believe his key takeaways matches mine: be objective, strategic, and ready for the long haul.

No need to feel hopeless — just start where you are and work upward. Take that first step and make it count. It could be the foundation of your entire future.