“I’ve always considered my career as a singer as my own business and tried to run it as efficiently as possible.”
Last May I sang in a production with Dayton Opera and had the pleasure of working with a great baritone, Gabriel Preisser. His impeccable preparation, ability to shine in varied styles, and fun-loving spirit made him stand out as a wonderful artist and colleague. He had a seasoned air rarely seen in such a young singer.
And then a couple of months ago, Opera Orlando announced him as their newly appointed artistic and executive director—all in addition to his busy performing schedule and growing family. In a career where there are many ways to serve our art, I was intrigued by Preisser’s path to the business side of opera.
A couple months ago you were an active singer, and suddenly you are the executive and artistic director for Opera Orlando—and an active singer! Tell me a little about the company and your history with them. How did you come to find them and how did they know you were the perfect fit for the job?
After Orlando Opera closed down in 2008, a small group of volunteers founded Florida Opera Theatre to keep opera alive in Orlando. I grew up in Orlando, so it was a natural progression for me and my wife to move back home to Orlando after I paid my “dues” as a young artist doing programs around the U.S. When I moved back home, I almost immediately got involved with Florida Opera Theatre, first as a performer and then as a board member. I think our board members saw certain advantages to having an active performer in a leadership role.
Florida Opera Theatre was also considering a big name change and rebranding at the time. With the shift to Opera Orlando, the organization wanted to assert a new vision and mission. I think investing in the real reason we are all part of this business—making music and making moving, relevant theatre—was paramount to the company. For whatever reason, Opera Orlando felt that I was the guy for the job.
You have two titles, both executive and artistic director. What is your role in the company?
Many roles! Too many roles! I work very closely with our board and general director, Vincent Connor, in all facets of the company, really. Fundraising, corporate sponsorships, private donors, partnerships in the community, venue hunting, contracts, season and event planning, outreach and, most importantly, making sure everyone gets along. Because we are still a young organization, I have to wear many hats. It is a challenge for sure.
Was the business side of opera always a long-term aspiration?
I used to tease about running an opera company but figured that would be much later in life if ever. I still don’t know if I really believe I’m doing what I’m doing. It hasn’t really settled in and it kind of remains to be seen how it will affect my singing career. I am hopeful that by continuing to perform, I can serve as an ambassador for Opera Orlando.
Being out in the field on gigs certainly enables me to stay connected with the “singer world” and helps me gauge what other companies are doing, what works, and what doesn’t. I think I will always be a performer first and foremost and hope I can use my experience and expertise as a full-time opera singer to help Opera Orlando thrive and make a unique mark in the opera world.
What prepared you for this job along with your singing career?
I did receive a business minor while I was going to school for music at Florida State University. I’ve always considered my career as a singer as my own business and tried to run it as efficiently as possible. Aside from that, I can’t really claim to have a broad résumé of business experience. I know what I know and I am eagerly learning what I don’t.
About three years ago, I founded a small production company, Angels and Demons, with a good friend of mine. That was certainly helpful in thrusting me into the admin side of the arts world. Angels and Demons has three upcoming productions this year, including a site-specific Marriage of Figaro in St. Paul, Minnesota.
What are some of the biggest challenges you are facing with Opera Orlando?
I find the most challenging thing is wanting and sometimes needing to be in three different places at the same time. Luckily, technology helps in many of those cases—being able to FaceTime into meetings, for instance. I feel like I am on my phone all day long answering e-mails now. But I prefer to be busy and active in a worthy cause, and helping bring back a strong, sustainable opera company to my home town makes all the challenges worth it.
Biggest rewards?
The biggest reward is seeing the joy that opera brings. I have always believed that if you can just manage to get people in the seats at the opera, then they will become fans—and I’ve yet to see that not be the case. Opera moves and enlightens us unlike anything else. It speaks to a deeper part of each of us and to our shared humanity.
Have your personal singing goals changed?
Not really. I am still a singer/performer first and foremost. I may have to be a little more picky about which gigs I take, but I am still running after auditions and networking for gigs, as one does nowadays. I feel it will only help my perspective on the admin side the more active I stay in the performance world.
Whom do you seek out for advice? Do you have any mentors?
Everyone! No, really—everyone. I think there is something for everyone in opera when it is done the right way and, therefore, I ask advice from everyone—from my mom to my neighbor to the person sitting next to me on the plane. What moves them, what do they know about opera, what don’t they know about opera, why haven’t they given opera a try? I find myself still having to explain that Phantom of the Opera is not an opera, but what can you do . . .
I do have several mentors and confidants whom I can run my bad ideas by and get honest feedback. My wife is definitely included in that group! I also consider my board members and especially my board president to be mentors. Many of our board members have been involved with opera in Orlando for 20+ years. Outside of that, my circle of trust is made up of other artistic directors and former singers. It is really invaluable and crucial to have people you can trust in the arts.
How does your company strive to fit the changing world of opera? What makes your company unique?
Opera is indeed the highest form of art, but to survive in today’s world it needs to retain and enhance its place as a major form of entertainment. Moving, imaginative, accessible, and relevant productions are our goal—classics reimagined in intimate or unexpected places. Our home venue, the Alexis & Jim Pugh Theater at the new Dr. Phillips Center for the Performing Arts, seats 300 and allows us to immerse the audience in the action while also providing the red carpet treatment of coming to a premiere performance venue right in the heart of downtown Orlando.
We are also hard at work building an audience for the future. Lead-up events throughout the greater Orlando area, along with our Youth Program and our upcoming touring show, help engender and educate a larger audience. Also, we are following a common model across the U.S. by starting an Opera Young Professionals group with special perks like season tickets, VIP passes to after-parties, and more. We want to expand our education program—getting shows out in the community and schools, elementary school presentations, Opera 101 for high school and adults, and touring opera presentations, to name a few.
Fantastic! What is coming up for Opera Orlando?
We just wrapped up our inaugural production, a double bill of Mozart’s Impresario and Poulenc’s Les mamelles de Tirésias [The Breasts of Tiresias]. We called the production “A Boisterous Rebirth for Opera in Orlando” playing up our name change while also playing up the birthing of 4,049 babies in Poulenc’s surrealist farce, featuring talent from across the nation. Next season, we have Don Pasquale, Don Giovanni, and Amahl and the Night Visitors on the docket. Amahl will be a local touring show and hopefully become a holiday staple for us. Don Giovanni is going to be an original production, “Don Juan Goes to College.” Don Pasquale will star basso-buffo sensation Peter Strummer. We are really going for it!
We are also looking at co-productions with other Florida opera companies in upcoming seasons and are exploring starting a season-long Young Artist Program. In the next two seasons, we hope to start offering site-specific operas as well. Our aspiration is to become a standard bearer for the art of opera in the state of Florida with a national reputation for excellence and innovation.
You really bring a passion and enthusiasm to all you do! As a singer, casting director, and colleague, what advice do you have for aspiring singers and entrepreneurs?
Be true to yourself. Trust your instincts and always, always show up prepared.
To learn more about Gabriel Preisser and Opera Orlando, visit www.gabrielpreisser.com and www.operaorlando.org.
