In Part 2 of our series, we meet three more of Canada’s newest arts leaders to get their take on the current state of the classical-music industry.
Jennifer Szeto. Photo: Kristian Fourier
Jennifer Szeto became Director of Opéra de Montréal Atelier lyrique in 2023, succeeding Chantal Lambert who had led the program for more than 30 years. Szeto herself trained at the Atelier and, subsequently, at the Canadian Opera Company and San Francisco Opera. She was also Artistic Director and co-founder of the creation company Musique 3 Femmes, and program manager for Tapestry Opera’s Women in Musical Leadership Program.
Fabienne Voisin. Photo: Jean-Baptiste Millot
Fabienne Voisin has been President and CEO of Montreal’s Orchestre Métropolitain since December 2022, when she succeeded Jean R. Dupré who retired from the post after 10 years. She held the same position for 12 years at Orchestre National d’île de France. When young, Voisin studied piano professionally and still enjoys playing.
Robin Whiffen. Photo: Taylor Long
Robin Whiffen will become Executive Director of Edmonton Opera on Oct. 8, taking over from Sue Fitzsimmons who held the position from 2022-24. Whiffen previously held leadership roles as General Director, Against the Grain Theatre (2022-24), Executive Director, Against the Grain Theatre (2019-22), and as General Manager, Opera on the Avalon (2016-19). She holds a degree in Voice Performance from the University of Toronto.
The LSM Questionnaire
LSM: What led to your professional interest in arts management/business and music?
JS: As a collaborative pianist, I have always been drawn to supporting artistic work and creating conditions for communal success.The skills required are immense: work ethic, time management, interpersonal relationships and HR, creativity, teamwork and holding space, problem-solving, communication. It was a very organic transition for me to move into full-time management. FV: The desire to share my passion with as many people as possible, to see my friends come to concerts, the conviction that art helps us to live better in society and enables personal emancipation, and more specifically, that music is a wonderful universal means of moving people, whatever their background or origin. RW: After two years of undergraduate chemistry, I decided to change my major and went on to study voice. Upon graduation, I was preparing to audition for my master’s when I joined the team at Opera on the Avalon. It was in this role that I was able to combine my love for the operatic art form with my analytical skills.
LSM: As someone relatively new to your organization, what do you perceive as its biggest challenges?
JS: Artistic institutions in Canada will continue to experience major leadership changes in the next years. I think how well-prepared we are for these moments and what mechanisms are in place to ensure the success of the next generation is going to be key. FV: How, in a country and a culture different from mine, to understand these (cultural) differences, to grasp them and make them shine further (is the challenge). RW: Opera companies all over the country are struggling right now—whether it be decreased funding, saturated markets or changing audience habits. What I see as an exciting opportunity is to evaluate these challenges to find innovative solutions to further embrace the vibrant community in Edmonton.
LSM: What do you feel are your organisation’s greatest strengths?
JS: The greatest strength of Opéra de Montréal is its people. The OdeM team holds a great sense of pride in what they do and for whom they do it. It’s a common desire that unites us to deliver the mission of this company—to rally the community around opera and provide transformative artistic experiences. FV: An open and sincere human approach to share its passion with all Montrealers wherever they live. A truly extraordinary musical director, a unique personality, the best-known Quebec conductor of all time, recognized for his capacity for openness. An orchestra that happily brings local talents to international stages. RW: Edmonton Opera has built an outstanding team of professionals who care deeply for the company and the art form. Further, this team has collectively built a very healthy workplace culture that is consistently being evaluated.
LSM: What, if any, are the most significant changes you have already made?
JS: Last fall, I shared a post on Instagram explaining the changes we made in the audition room for our national auditions, which prioritized intentionality and artistic dignity. The changes were miniscule—removing (electronic) devices (and the) panellists’ table; inviting young artists to solicit feedback and share their ideas. The post gained more than a thousand reactions over the next few days. FV: Equip our teams with more modern and appropriate tools for observing, analyzing and reacting, so that they can maintain vital agility in times of great financial tension. Strengthening the relationship internally and with our cultural partners (Place des Arts and Orchestre symphonique de Montréal). RW: I am looking forward to analyzing our strategic plan to better define our hopes for the future to increase opportunities for community buy-in and accountability.
LSM: So much has changed in the classical music world in the past few years. What are you hoping to see happen at your organisation over the next five years?
JS: The Atelier will be starting to take a more expansive approach to young artist training—in 2025-26 we will welcome an official regular post for an apprentice stage director, a natural and organic direction for us. FV: Obtain greater public financial support (Conseil des arts de Montréal, Conseil des arts du Québec, Canada Council for the Arts) to ensure the long-term future of OM’s work in the community and internationally. RW: I hope that Edmonton Opera will continue to innovate as it has over the last few years to embrace productions and initiatives that define opera broadly, while maintaining the artistic integrity that our community has come to expect.
LSM: Maintaining and building a loyal audience is challenging. What is your philosophy with regards to audience growth in the current climate?
JS: We are proud that OdeM is one of the few opera companies in North America to have more annual subscriptions AFTER the pandemic than before it. We are lucky to have a wonderfully engaged audience who know we always try to outdeliver for them. FV: The situation is evolving very rapidly—public consumption patterns are changing, and the means of reaching all audiences are being transformed. In the face of this, we must, in a spirit of humility, constantly observe, correct and adapt our actions to reach and arouse the interest of the public in our proposals. RW: I believe that there needs to be a two-pronged approach to audience growth. The first prong deals with audience retention: encouraging existing audiences to keep coming back. The second deals with new audiences and ensuring they come into the theatre a second and third time, after which, the chances of them becoming a frequent audience member increases.
LSM: What are you most looking forward to this season at your organisation?
JS: I am unabashedly biased, but our production of Ravel’s L’enfant et les sortilèges conducted by Nicolas Ellis in February is going to be an extraordinary highlight. It is paired with a new OdeM commission and world première by Laurence Jobidon and Maria Reva: Le phare (The lighthouse). FV: The second European tour (in 2025 will be) a special event; it’s a moment when the orchestra shows itself off on the international stage, a formative and unifying experience for (our) team and for the orchestra’s community, a decisive stage in the future of the group. RW: I am most looking forward to building upon relationships with various organisational stakeholders. Understanding the motivations of those who engage with our company will be critical to help determine where we go next.
We thank all the company directors who responded to our questions. Responses have been edited for clarity and conciseness.
