What it really takes to stage an opera: Q&A with Leslie Martin
Luisa Tarnawski, Dallas Tippet and Liam Jackson in The Boor
When most people think of opera, they imagine soaring voices, dramatic costumes, and grand performances. After Springboard Opera's first staged production of 2025 The Boor - a comedic opera by Dominic Argento - we are reflecting on what it actually takes to present an opera. After speaking with one of our artistic directors Leslie Martin, one thing is clear: opera is a deeply collaborative art form, powered by the dedication and creativity of many hands behind the scenes.
Q: Who was involved in putting on the production, and is it just the singers?
“Opera is the ultimate collaborative art form,” says Artistic Director Leslie Martin. “It’s never just the singers—though they’re front and centre.” Behind every production, like The Boor, is a dedicated team: directors, répétiteurs, stage managers, technicians, marketing teams, board members, and volunteers. Each person contributes to the artistry that unfolds on stage, often in ways the audience never sees.
Q: How many rehearsals does it take for a show like ‘The Boor’?
Even a short opera like The Boor requires months of preparation. “We started talking about it in mid 2024,” Leslie shares, “but the real work began in February 2025.” With Luisa Tarnawski leading the production and performing the role of The Widow, rehearsals spanned music calls in May and intensive production rehearsals in June. “It’s not just about the final performance; it’s about the process,” Leslie emphasises. "When you’re working with emerging artists, we also build in time for mentorship and professional development - it’s not just about the final performance; it’s about the process."
Q: Why does a show like ‘The Boor’ align with Springboard Opera’s vision?
Springboard Opera’s mission is to create fresh, accessible opportunities for artists and audiences. The Boor fits perfectly: “It’s short, witty, and full of bold character work,” Leslie explains. It offers emerging singers substantial roles without overwhelming vocal demands, making it a brilliant entry point for new audiences.
Q: What is the most unexpected task or role when putting on an opera that people outside of the industry wouldn’t expect?
Opera isn’t all glamour. “One of the most unexpected roles I take on is turning an everyday space into a theatre,” Leslie says. From hanging curtains to placing highlight tape to prevent tripping, the logistics are endless. “There’s always a hidden layer of problem-solving… honestly, there’s a lot of spreadsheets involved!”
Q: What is the one moment that is your favourite part of the whole process; is it in rehearsals or the performance, and why?
For Leslie, the most thrilling moment isn’t the performance—it’s the dress rehearsal.
"For me, the magic happens in rehearsal, when a performer takes the text and the meaning that lies within the music and turns it into a fully considered character. That goes even further when the costumes, props, set and lighting are added at the dress rehearsal. All the elements finally converge and you see the full world of the opera come to life for the first time. There’s a buzz in the room, knowing the audience is just around the corner, and that’s where the thrill really kicks in."
What’s Next: The Domestic Sublime
Springboard Opera’s next production, The Domestic Sublime, premieres in August. “It promises something truly different,” Leslie says. With beautiful music, fantastic Brisbane talent - including the Riverbend Ensemble led by Helen Carvolth - and canapés paired to the text (plus fine wine!), it’s a bold exploration of the everyday through music and theatre. “Whether you’re a seasoned opera lover or a total newcomer, you’ll see something you’ve never quite experienced before.”