Thomas de Mallet Burgess believes there is room for vision in Finland. But it is also important to him that opera is a safe place to work.
For the Englishman de Mallet Burgess, when it comes to Finland, opera and visions, the time does not matter. The new artistic director of the National Opera is clearly excited about the future.
We asked de Mallet Burgess five questions to help you get to know the opera boss, who will begin his four-year term in August 2022.
Yes, I am looking forward to the move! We are coming to Finland with my wife and 15-year-old daughter. My other daughter is studying at university in the UK, and I believe she will also be visiting Finland during the holidays.
The National Opera has a really impressive and multi-layered cultural and work community. I am looking forward to discussions in different departments and also with the public – and of course with my colleagues working in different institutes about cooperation opportunities.
Opera must speak in time and place, but how do we do that? That’s what I’m going to discuss and that’s where I’ll start. Inevitably, the outcome of the discussions will include core software, new works and utilization of technology. I strive to create a relationship between the audience, the work, the space and the artist, which has not been experienced in opera houses.
Very important and good question!
Even the way a woman is presented in an opera needs to be discussed. And about how to get women into leadership positions in creative work. I have studied this issue very closely in New Zealand Opera and tried to provide equal opportunities for influence.
With things like this, we can make the industry safer and more respectful.
The artistic director is basically the subject of criticism. I am willing to discuss any of my choices as long as the discussion is constructive and respectful.
Look at the Finnish landscape. A lot of space! The position of an artistic director basically has the opportunity to create new things and open discussions. That’s the starting point for me. Where are we, who are we, what are we? And all these things are connected. Opera moves and opera helps us put ourselves in the shoes of others. It is the alchemy of creativity that an artistic director has from the very beginning – even before the microcosm of the rehearsal room.