After nearly three transformative years at the helm of State Opera South Australia, Executive Director Mark Taylor is leading the company into a dynamic era of international collaborations and creative innovation. With Mozart’s The Magic Flute on the horizon and ambitious plans for the 50th anniversary Golden Jubilee, Mark Taylor chats to us about what he’s learned, how he’s balancing tradition with fresh perspectives, and why opera remains a vital and evolving force in South Australia’s cultural landscape.
Mark, you’ve been Executive Director at State Opera South Australia since late September 2022, and were hired on an initial three year contract. Will you be staying on beyond September?
Yes, I’m definitely staying on after what has been an enormously rewarding three years. We’re focused right now on delivering a strong rest of season for 2025 with The Magic Flute and Roméo et Juliette and planning toward our 50th anniversary Golden Jubilee in 2026.
What have you learned in these almost three years? What was most surprising to you?
I’ve learned how passionately South Australians support their opera company, and how deep the creative talent pool is in this state. The most surprising thing? Probably how willing audiences are to embrace innovation, so long as it respects the art form.
What changes or innovations have you brought to the company’s structure or operations since joining in 2022?
We’ve focused on strengthening partnerships, and this is absolutely evidenced by our collaboration with Opera Hong Kong and the Beijing Music Festival for The Magic Flute and indeed with West Australian Opera and the Irish National Opera. We have been achieving operational efficiencies, and creating a more flexible model for co-productions. This has allowed us to expand our reach without compromising artistic quality.
What drew you to the world of opera?
I’ve always been drawn to storytelling at scale — and opera delivers that like no other art form. It brings together music, drama, design, and voice in a way that’s completely immersive.
In the press release announcing your arrival in the role, you said “From the glorious Her Majesty’s Theatre to the wild natural beauty, I’m thrilled to explore how opera can continue to contribute to the cultural fabric of South Australia”. What are the results of your explorations?
We’ve presented works that reflect both global artistry and local identity. We’re demonstrating that opera has a place in contemporary Australia — and that it can reflect the diversity and ambition of our cultural life. In addition to three mainstage production each year in Her Majesty’s, we have created a cabaret size opera which was the flagship work of the 2024 Penola Festival in the Coonawarra and have performed to thousands of primary school aged children across the state from Ceduna to the Riverland.
What inspired State Opera South Australia to stage The Magic Flute, and how does this production fit into the company’s current artistic direction?
The Magic Flute is one of the most beloved operas of all time — but we wanted to stage it in a way that speaks to today’s audiences. This international collaboration brings fresh perspectives, dynamic design, and musical excellence. It’s a strong example of our Opera Without Borders strategy in action.
How do you approach the challenge of presenting such a well-known, universally loved opera to both new audiences and seasoned opera-goers?
By trusting the music and reimagining the world around it. The story remains intact, but the visual language, cultural framing and staging are designed to resonate across generations and backgrounds.
Are there any unique partnerships or collaborations for this production, especially with international or French companies or creatives?
This production is a collaboration between State Opera South Australia, Opera Hong Kong and the Beijing Music Festival. While there’s no French partner involved, we’re always exploring opportunities to deepen our international links, including with European festivals and companies. We are looking forward to working with the local French community and French language students for them to come and see Gounod’s Roméo et Juliette when it starts on 23 October.
How do you address the balance between tradition and innovation in a production like The Magic Flute?
You don’t treat them as opposites. You allow the integrity of the music to guide the production, and then you work with creative teams who can add a new lens — in this case, one inspired by contemporary Asian cities and mythology.
Given the opera’s Masonic and philosophical themes, how do you ensure the story remains accessible and engaging for a contemporary audience?
We focus on the emotional truth at the heart of the piece — love, courage, wisdom — and trust the staging to do the rest. This production uses contemporary visual metaphors to make those themes more relatable.
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We thank Mark Taylor for this interview and look forward to seeing The Magic Flute.
KEY INFO FOR THE MAGIC FLUTE
WHAT: Mozart’s The Magic Flute, a collaboration between State Opera South Australia, Opera Hong Kong and the Beijing Music Festival.
WHERE: Her Majesty’s Theatre, 58 Grote St, Adelaide SA 5000
WHEN: 4 performances only:
- Thursday 28 August, 2025, 7:30PM
- Saturday 30 August, 2025, 7:30PM
- Thursday 4 September, 2025, 7:30PM
- Saturday 6 September, 2025, 2:00PM
HOW MUCH: Ticket prices are as follows:
- Premium: $189
- A Reserve: Adult $149, Concession $134
- B Reserve: Adult $119, Concession $107
- C Reserve: Adult $79, Concession $71
- Under 30: $35
HOW: Purchase your tickets here
