The American Opera Project Announces Artistic Advisory Council

The American Opera Project Announces Artistic Advisory Council

The American Opera Project announces the creation of the AOP Artistic Advisory Council, composed of artists and innovators from the world of opera and beyond who contribute their time and wise counsel to advance the mission of The American Opera Project. Council members offer their unique ideas and personal insight to the AOP Staff and Board of Directors, mentor creative teams in the development stage, and serve on panels selecting AOP works and artists.

Mila Henry, AOP’s Artistic Director says, “When Matt (AOP’s General Director) and I first talked about what we wanted to bring to AOP, one unanimous decision was to expand AOP’s reach, not only through our audiences, but through our influences as well. How can we learn from our colleagues, both in-and equally important-outside of the operatic world? This illustrious panel of visionary leaders will provide the insight needed to navigate an ever-evolving terrain.”

Council Members include: Mark Campbell, Librettist Thom Collins, Executive Director – the Barnes Foundation Sasha Cooke, Mezzo-soprano Anthony Roth Costanzo, Countertenor Alexandra Enyart, Conductor – Thompson Street Opera Company Susan Gonzalez, Director of Vocal Studies and Opera Theater – Hunter College Briana Hunter, Mezzo-soprano J. David Jackson, Composer and Conductor Laura Kaminsky, Council Director and Composer Jessie Montgomery, Composer and Violinist David Michalek, Director and Visual Artist Ravi Rajan, President – California Institute of the Arts Kimberly Reed, Filmmaker and Librettist Huang Ruo, Composer

Artistic Advisory Council activities are coordinated by Council Director, composer Laura Kaminsky (As One), who says, “Having served as AOP’s composer-in-residence for several years, it is an honor now to lead this august group of thought leaders as we begin to grapple with some of the changes facing our field. It is my hope that together we can be helpful to Matt and Mila as they charge ahead, redefining AOP as a central player in contemporary opera.”

More information available at

Alice G. Collins

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