​In the fall of 2006, Robert Grayson found himself in conversation with tenor Paul Groves about a remarkable fact: half a dozen singers at the Metropolitan Opera in New York were native Louisianans. That spark of recognition lit an idea—what if these artists could be brought home for a gala concert, celebrating Louisiana’s outsized contributions to the world of opera?  Groves, his former student convinced Grayson, who had transformed the LSU Opera into a nationally recognized program, called on his on experiences as a leading tenor at New York City Opera for a decade, as a GRAMMY winning artist, and as a conductor and stage director to forge ahead with the project.

 

From Gala to Grand Vision

Grayson shared the concept with Beth Courtney, President of Louisiana Public Broadcasting, who immediately saw its potential. LPB not only embraced the idea but helped organize and underwrite the project, aiming for a Fall 2007 broadcast. Their support was pivotal—without it, the dream might never have taken flight.

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Meanwhile, in January 2007, Grayson traveled to New York to see Groves perform in the premiere of Tan Dun’s The First Emperor at the Met, alongside Plácido Domingo and Louisiana native Elizabeth Futral. During that trip, Grayson had a vivid dream: standing in Baton Rouge’s Centroplex (now the Raising Cane’s River Center), he saw a marquee listing the city’s resident arts companies—among them, a new name:

 

Opera Louisiane, with himself as Executive Director.

Ambitious? Certainly. But the dream crystallized a vision: the gala could be more than a celebration—it could launch a company.

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Building the Bones of a Company

With Groves helping to gather renowned artists like Susan Graham, Elizabeth Futral, and Jeffrey Wells, Grayson turned to Baton Rouge’s own talent pool. He recruited gifted current and recent grads from LSU including Lisette Oropesa, Tiffany Bostic, Terrance Brown, and Matt Morgan. Community supporters such as Carole Marshall, Annette Seng, Ned Bori, Annette Douthat, and Jerry Davis joined forces to form a Board of Directors. Amanda Martin soon came on board, working with Grayson to shape the inaugural season.

 

The goals were clear:

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1. Present first-class opera to Baton Rouge.

2. Introduce opera to schoolchildren through free performances.

3. Feature artists with Louisiana roots.

4. Employ Louisiana musicians, singers, directors, and technical staff.

 

Season Tested by Storms

The company planned to open with a new production of The Magic Flute, adapted for school audiences and performed entirely by Baton Rouge artists. Next on the schedule was Lisette Oropesa’s first Lucia di Lammermoor, designed by Grayson himself.

 

But fate intervened. In September 2008, Hurricane Gustav swept through Louisiana, forcing the postponement of The Magic Flute. The fledgling company had no choice but to substitute the already-prepared Magic Flute production, canceling Oropesa’s Lucia. It was a difficult compromise, but it kept the company financially stable and firmly on course.  Further, it celebrated the generous grant from Mayor Kip Holden and the City Parish of East Baton Rouge and other significant sponsors including the Pennington Foundation, The Arts Council of Baton Rouge and the Baton Rouge Area Foundation, as Opera Louisiane inaugurated its first Young People’s Opera, Mozart’s The Magic Flute, followed in successive seasons by Hansel and Gretel and The Barber of Seville.  These productions have enabled over 37,000 of 4th-6th graders to see fully produced opera over the past sixteen years.

 

Legacy of a Dream

What began as a conversation in New York and a dream in Baton Rouge became a reality: Opéra Louisiane. Born from vision, community support, and resilience in the face of a hurricane, the company has grown into a cultural anchor for Baton Rouge, proving that opera thrives not only in the great capitals of the world but also in the heart of Louisiana.