New Orleans is a city of performers; performers who have a part of their closet – sometimes a whole closet – dedicated to costumes for a performance that between Carnival and festivals can sprout on any street corner at the drop of a musical note. The New Orleans Opera has brought performances of a different kind to the city for more than 80 seasons now. Lila Palmer is set to begin her tenure as the new general and artistic director of the New Orleans Opera, bringing years of experience as a musician, a singer and a librettist (among many other titles) from the U.K. to the U.S.
Q: Can you tell us a little about your background?
I’ve bounced back and forth between England and the U.S. my whole life and have worn an entire wardrobe’s worth of hats on both sides of the pond. I’ve been blessed to experience our industry from many different angles: as a student and freelance musician in both countries, a cultural commentator on television and radio in the U.K. and Europe, a non-profit co-founder platforming new music for social justice in Boston, an arts communications consultant in Chicago, and an apprentice opera singer with English National Opera. After the ENO apprenticeship, I was recruited to join a new program, run by the Royal Opera House in Covent Garden and the Guildhall School of Music and Drama, to develop new operas. Immediately after completing that program, I was offered my first commission as a librettist. While fielding those early commissions, I joined American Lyric Theater as a resident artist in New York City, which gave me the opportunity to work with a lot of very promising opera creatives who care about new repertoire, and I was then asked to serve as their managing director during the pandemic. These experiences generated a deep respect for both the clarity and emotional narrative of repertoire that has stood the test of time, and a vision for where the industry can go. I’m interested in bringing more inclusive stories to the stage, particularly those that aspire to the same level of excellence on their own terms as the pieces within our lyrical tradition.
Q: What are you most excited for in starting your new position?
There’s such an incredibly rich musical heritage in this city, so much history, and the operatic tradition is one of wild creativity and innovation. I’m really excited to join the dots of that history with the present, collaborating with local heritage institutions and artists while continuing the tradition of imagining the future. I see the opera stage as a sort of magic mirror – one day, audiences can come and see life as it is, and another day they can see a fantasy brought to life. Both those views can bring inspiration and empathy and joy.
Q: What will your focus as you hit the ground running May 15?
There are so many practical things to accomplish right off the bat! I must begin planning the 2025/26 season, start a capital campaign specifically to drive innovation and enable significant cultural partnerships, and meet regional leaders from the business, education, arts, society, and political sectors. Above all, I intend to listen, assessing where we are and hearing what people need from us.
Q: What are you most looking forward to with moving to the city?
I’ve traveled to New Orleans four times now, but each trip has been very opera-focused! My husband and I have two little boys under three and I’m very excited to explore with them. I’ve been reading them children’s books about the city, and as I was leaving for my most recent trip, my eldest said to me, parroting his favorite one: “Let’s move to New Orleans and have a great day.” I just about died. But in all seriousness, getting to explore through their eyes, their wonder and instinctive enthusiasm – that’s going to be so much fun.
Lagniappe
Favorite opera? “The Marriage of Figaro” – banging tunes and low-key revolutionary
Favorite type of food? My husband’s cooking, which is mostly French
Festivals you’re looking forward to attending? My cousin Jordan John just took over as the lead singer of Tower of Power, so he’ll be at Jazz Fest this year. It’s going to be so fun to watch him do his thing, although brutally he’s on at the same time as Trombone Shorty – a nightmare! I’m excited that Terence Blanchard and Rhiannon Giddens are both appearing, as they’re both cross-genre creative luminaries who write opera. We’re arriving too late this year to be at the literary festival but next year I am excited to attend.
