HGO Spotlight On: Director of Strategic Initiatives Monica Thakkar
During her career, Monica Thakkar has learned to enjoy the journey and all the opportunities that can present themselves with an open mind. Formerly Houston Grand Opera’s Director of Artistic Partnerships and Music Planning, she was recently promoted to the new position of Director of Strategic Initiatives. But there was no straightforward route to this achievement. She’s always reminded herself to stay curious and open minded.
A native Houstonian, Thakkar was introduced to the world of opera while in high school and decided she wanted to study classical music in college. She earned her BFA in Voice from Carnegie Mellon University and then her master’s in the same field from Boston Conservatory at Berklee. But by then, she had determined that while she wanted to pursue a career in the opera field, she no longer desired to be onstage.
In search of her next professional opportunity, Thakkar started to research different jobs and academic positions that would keep her in the classical music industry and began with an internship at Juilliard. As her career unfolded, she had the opportunity to work with several impactful professional mentors and discover the importance of enjoying the journey, and all the opportunities that can present themselves along the way.
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How did you come to discover opera?
I was inspired in high school by my very first opera, Don Pasquale at Opera in the Heights. It’s the drama, power, and emotion of the human voice that first drew me to music because my primary instrument is voice. I heard Norina’s aria, and I was like, I have to do that. I spoke to my voice teacher at the time, Katherine Ciesinski, who happened to be singing in Eugene Onegin here at HGO. She said, If you’re really thinking about pursuing this in college, why don’t you come shadow me? And somehow, they gave me free rein of the Wortham for about a month to observe any HGO rehearsal I wanted. |
What drew you to arts administration?
Shortly after completing my master’s degree, I realized I loved the art form, but I did not want to be the one performing it. I pretty quickly shifted to figuring out what I wanted to do instead of singing. I had moved to New York, and that’s where I started exploring arts administration. I was selected for a position in Juilliard’s Professional Apprentice Program in the Vocal Arts department, which then transitioned into a full-time job offer, and I was eventually promoted to the Director of Performance Activities.
It was a dream job of mine, and I loved working with the students at Juilliard. I produced some of the first live-streaming master classes at Juilliard, collaborated on opera productions with the Metropolitan Opera and the Metropolitan Museum of Art, and even toured a show to Versailles! But after about eight years, I recognized I wanted to have a professional opera company experience producing opera. I responded to a job posting at Opera San José, where Khori Dastoor had just become the General Director. I was blown away by her vision and her drive. I was offered the job, and the next thing I knew, we were packing up our Brooklyn studio apartment and moving across the country!
How did you end up at HGO?
HGO has always been a company I hoped to work at since I started in opera, both for the company renowned and to be closer to family. There was an opening in the Artistic department, and I had opportunity to meet with Richard Bado and reconnect with Khori. It feels like a full-circle moment to come back to the place where my operatic journey began.
What do you do at HGO?
I am so excited to be in my new position of Director of Strategic Initiatives. I’m working on company initiatives that support and align with our mission and company objectives, and supporting our ambitious fundraising campaign, while also continuing to spearhead our new works and commissions. I’m inspired daily by the world-class artists I get to work with to shepherd these new works to life, like HGO Composer-in-Residence Joel Thompson.
I also oversee our institutional media projects. For example, in the past year we released a recording of Massenet’s Werther with Isabel Leonard and Matthew Polenzani, and the world premiere recording of Jake Heggie and Gene Scheer’s Intelligence. I love how these recordings expand access to the incredible work that HGO is doing.
What can you share about HGO's new partnership with the London Symphony Orchestra's label, LSO Live?
This year, HGO launched our very own label! With LSO Live as our partner, it’s a beautiful opportunity for HGO to have full ownership and control over our recordings, including when and what we want to put out. LSO Live has been doing this for 25 years and their knowledge and expertise in the field is invaluable. With their support and management of our label, we’re able to continue to build our legacy and share our work with audiences around the world
What do you think is a necessary quality to be successful in your position?
Patience! And probably a better poker face than I have. I enjoy challenges and have learned to be comfortable with being uncomfortable. I believe in hard work, ambition, curiosity, and having goals. But I’ve also seen so many people I professionally respect take many different routes to their achievements. Seeing this reminds me there is not one path to achieving your goals—work hard and follow your inspiration.
Do you ever miss singing?
I am incredibly grateful to have such a rewarding career in opera, and still be part of the art form, while not being onstage anymore. I have the privilege and joy of supporting the creation of new art and bringing music to our community every day. What a gift this is.
For more of the HGO Spotlight Series check out: HGO Spotlight on: Chief of Staff to the General Director and CEO Mary Elsey