New Opera UK Directors
A very warm welcome to our new Opera UK Directors: Simon Ash, Daisy Evans, and Richard Jones. They each bring with them a wealth of experience and enthusiasm for our sector, and will help us grow and shape our membership offer. Read on to find out more about them!
Simon Ash
Simon is the Director of NR1 Creatives, representing non-performing creative talents in opera, theatre, dance and film. He has worked with some of the world's leading producers, directors, designers and writers. After eight years as a stage manager at ENO, Simon went on to work for Scottish Opera, Opera North, Salzburg Festival, Garsington Opera D’Oyly Carte Opera and Savoy Opera before working as a freelance Company Stage Manager on Movin’ Out and Acorn Antiques the Musical! Simon joined Colin Ingram for five years and was Associate General Manager for Breakfast at Tiffany’s and GHOST The Musical.
Why did you decide to join Opera UK, and what do you hope to bring to the team?
It’s essential that those who earn their living from, and are passionate about opera, step up and shape the future of Opera in the UK. I’m here to help the team however I can!
What would you say is the most pressing issue in opera today?
We urgently need to find a new generation of opera goers - the audience of tomorrow - this begins with primary schools; music and engagement.
And finally, what is your favourite opera, and why?
Der Rosenkavalier; I love Octavian’s journey from spurned young lover to protector of Sophie; the music is wonderful and Act 3 is an absolute riot!
Daisy Evans
Daisy Evans works internationally as a director in theatre, opera and film. She is Artistic Director of Silent Opera, founder director of Theatre of Sound, as well as a freelance writer and librettist. Daisy has worked with organisations including Welsh National Opera, Scottish Opera, English National Opera and the Royal Opera House. Her opera librettos include new translations and interpretations of A kékszakállú herceg vára, Hänsel und Gretel, Don Pasquale, Příhody lišky Bystroušky, and Don Giovanni.
Why did you decide to join Opera UK, and what do you hope to bring to the team?
I’m passionate about change, and my experience running innovative company Silent Opera has given me a unique stance and perspective. I think from another angle, and hope to bring this thinking to the team to provide interesting and effective solutions.
What would you say is the most pressing issue in opera today?
Accessibility to new and younger audiences of all backgrounds!
And finally, what is your favourite opera, and why?
It changes all the time - but I’d say I have a top five and they alternate. Right now, I love Falstaff. It’s a perfect piece of comedy, and I think what we need in opera right now in these sad and turbulent times is a good laugh and a reminder that life can be simpler and happier than we make it for ourselves.
Richard Tegid Jones
Richard is an opera singer, director, accountant, chef and dad. He was born & bred in Wales, before moving to Warwickshire for university and never leaving. Richard has been a Chartered Management Accountant for 16 years, with a day job working on corporate and commercial strategy with FTSE100 companies. A bass-baritone who discovered opera later in life through an amateur route, performing with local operatic societies. His growing passion for the art-form led to him setting up Random Opera Company in 2011, deciding to take matters into his own hands after finding a lack of opportunity to perform locally.
Why did you decide to join Opera UK, and what do you hope to bring to the team?
I am really passionate about opera being an artform that reflects our society – that it should tell stories from a variety of perspectives; that the whole cross section of society should be represented, whether as composers, as creatives or as performers; that it should be accessible to all to both watch and participate. Opera UK is an important organisation to influence the change that is needed; by bringing together companies and performers from across the sector, and it felt like a great opportunity to be a part of that. In my day job I have experience of finance, corporate strategy and governance, so I hope I can help the organisation to be structured well as we move towards charitable status. With my experience of running a small opera company, I can also see the challenges that companies face and have an insight into the support they need.
What would you say is the most pressing issue in opera today?
How to effect real change in the diversity of the sector, and ensure that it is inclusive to all. There are still huge barriers to entry, long before performers get to the audition room - whether it's the opportunity to see opera locally and discover that you like it, or seeing role models that look like you, or having opportunities to try it that are accessible. There are some fantastic, creative companies out there doing amazing outreach but it's a postcode lottery. As an industry we need to come together and share ideas and resources for the benefit of the whole genre. That's where I think Opera UK can play an important role.
And finally, what is your favourite opera, and why?
My favourite opera is whichever one I'm currently working on; once I'm immersed in the music then I can't imagine listening to anything else for that time. But if I was forced to choose, it would be Le Nozze di Figaro - it was my first opera, and simultaneously the one that convinced me to set up an opera company, so it's responsible for me being here.
