The Royal Opera House has taken another bold step forward by announcing the appointment of Netia Jones as its new Associate Director. This newly created position aims to push the boundaries of opera, allowing for innovative programming and the commissioning of exciting new works. Scheduled to begin her role in December 2024, Jones is already buzzing with anticipation about her responsibilities at one of the most prestigious opera houses globally.
Jones, who has made significant waves over the past two decades through her dynamic work across various platforms including opera, theatre, and multimedia installations, brings with her a wealth of experience and creativity. She is highly regarded for her diverse portfolio, which encompasses directing, designing, and implementing video artistry. Her recent successes include directing the Royal Opera's groundbreaking virtual reality opera, Current, Rising, as well as her acclaimed staging of Britten's A Midsummer Night's Dream at Garsington Opera, which was described as "stylish and very funny". Jones’s work is often characterized by her innovative use of technology, demonstrating how modern tools can amplify the impact of classical art forms.
One of the most compelling aspects of Jones's new role will be her primary responsibility for programming in the Linbury Theatre, which has a seating capacity of around 400. This smaller venue is known for its intimate performances and its potential for experimental productions. Partnering closely with Oliver Mears, the Director of Opera at The Royal Opera, Jones will not only curate works for the Linbury Theatre but also help shape the artistic vision of the main house, particularly focusing on fresh commissions and innovative collaborations.
Jones has shared her excitement about this opportunity, stating, “The Linbury Theatre is the perfect space to explore new technologies, to forge global connections, and to reflect the artistic ambition of this exceptional Company. I look forward to working with the team on developing a programme of work which expands the boundaries of what this unlimited and unstoppable art form can be.”
Her enthusiasm reflects her vision for the future of opera. Speaking on the matter, she has stressed the importance of opera being adaptable and relevant. “It isn’t just one thing, nor is there just one kind—opera can manifest itself in so many different ways,” Jones remarked. This sentiment resonates deeply with today’s audiences, many of whom are seeking new, immersive ways to connect with traditional art forms.
Innovation will be at the forefront of her initiatives, especially as she contemplates the integration of modern technologies such as artificial intelligence (AI) within opera. “Every technology affects the way we think, behave, and interact. AI is not going away,” Jones said, emphasizing her belief about its potential role within the creative process. She envisions AI as enabling the exploration of new possibilities rather than as something to fear. “We need to figure out the very best way of making it happen for our art-making,” she added. It’s quite clear Jones aims to redefine how opera relates to both its creators and its audiences.
Jones’s track record also showcases her ability to work across all forms of music theater—from works by contemporary composers like György Kurtág and Hans Abrahamsen to classic operas by Handel. Notably, she employs video projections to infuse modern narratives and visuals, marrying technology with the emotional depth of operatic storytelling.
The Royal Opera House has seen many changes and appointment variations over the past few years as it strives to remain at the cutting edge of performing arts. The addition of the associate director role for Jones demonstrates the institution’s commitment to nurturing creative talents who can bring forth new perspectives and invigorate the opera scene.
With her vast experience spearheading installations and fostering collaborations worldwide, Jones will be pivotal as the Royal Opera House seeks to attract wider audiences and cultivate fresh talent. The Linbury Theatre, under her guidance, is likely to emerge as a hub for eclectic performances, innovative projects, and global partnerships, all enhancing the rich legacy of opera.
Her appointment follows the announcements for other key positions within the Royal Opera, including the incoming music director Jakub Hrůša and principal guest-conductor Speranza Scappucci, which will only assure the company's dedication to artistic enrichment and diversity.
Jones’s inaugural year will mark the beginning of what promises to be a transformative era for the Royal Opera House, echoing her belief in opera as "an unstoppable art form." Her earlier experiences coupled with her forward-thinking vision are anticipated to shape how audiences engage with opera, fostering inclusive and innovative artistic practices. Exciting changes are on the horizon, and the operatic world is ready for them.
