(© Fundación Ibáñez Atkinson)

This year, the Metropolitan Opera’s Laffont Competition held its first South American auditions in over 70 years. This historic event was several years in the making, with Andrés Rodríguez Spoerer as its main champion.

As Music Director of Chile’s Fundación Ibáñez Atkinson (FIA), Rodríguez Spoerer spent years building the relationships, programs, and infrastructure that would make such a moment possible. A musician by training who came to opera through an early passion for rock music before eventually earning a degree in voice and then pivoting toward the management side of the art form, Rodríguez Spoerer went on to complete an MBA focused on opera, classical music, and the performing arts developing a rare fluency in both the artistic and institutional dimensions of the field.

At FIA, he has built and directed a suite of programs, including Música Educa, Red Coral, Artistas FIA, and the Ibáñez Atkinson Young Artist Program, that together form one of Latin America’s most comprehensive pipelines for operatic talent. Artists who participate in these programs have been accepted into opera studios at the Met, Teatro alla Scala, and the Royal Opera House, among others. His work has also drawn FIA into partnerships with the Dutch National Opera, the Vienna Volksoper, the Paris Opera Competition, and Houston Grand Opera.

The Laffont collaboration represents a culmination of that effort to put Latin America on equal footing with the centers of the operatic world. OperaWire recently spoke to Rodríguez Spoerer about his journey in opera, from his first encounter with opera to his vision for what a truly connected, sustainable regional ecosystem might look like.

OperaWire: I want to know a bit about your first encounters with opera. What drew you to the art form? At what point did you realize that you wanted to be a part of this world? Who are some of your favorite Latin American opera singers of both past and present?

Andrés Rodríguez Spoerer: My relationship with opera did not begin with enthusiasm, but rather with a certain distance. It was not a language that felt natural to me. That changed abruptly through a very concrete experience: going to the opera. When I was 18, I was given a ticket to see Mozart’s “Le Nozze di Figaro,” and I remember that after the Act two finale, something in me changed forever. I came to understand opera as a form of musical and theatrical thinking, meticulously constructed to the smallest detail, in which everything comes together in a single experience that cannot be separated into parts.

From that moment on, my interest began to shift. I stopped focusing only on what happens on stage and started asking what happens before, how the different disciplines are articulated, how a career is built, what networks are activated, and so on. I soon realized that these structures often do not exist or are very fragile, especially in the Latin American context. Strengthening these networks became a strong motivation for me.

Some Latin American singers I particularly admire include Ramón Vinay, Rolando Villazón, Verónica Villarroel, Raúl Giménez, Cristina Gallardo-Domâs, and Claudia Parada. Currently, I very much enjoy following the careers of Jonathan Tetelman and Yaritza Véliz.

OW: What was the impetus for forming the foundation? What were some of the challenges of creating it? 

ARS: The Foundation was born from a deep conviction: that the private sector can, and should, play an active role in cultural and social development, not as a secondary actor, but as one that helps build. Felipe Ibáñez and Heather Atkinson, together with their family, were exposed to philanthropic models in different countries that operated under this logic: thinking long term, not reacting to urgency, and creating structures that generate real impact. This way of understanding philanthropy became the starting point for envisioning a foundation in Chile that would not only support initiatives, but also contribute a clear vision and a way of working.

From the outset, the motivation was to contribute to a more integrated society, with greater access to culture, education, reading, and an appreciation of the natural environment. It was not about intervening in a single field, but about recognizing that these areas are interconnected and, when thoughtfully articulated, can generate deeper transformations.

Building the Foundation has been a process of continuous learning. It has involved observing, studying what is happening in other contexts, and above all, adapting it thoughtfully to our own reality. Not copying models, but adapting them. Perhaps the greatest challenge has been building trust: ensuring that other institutions, both in Chile and abroad, see the Foundation as a serious, consistent partner capable of delivering on its commitments. That does not happen overnight; it is built over time, through coherence and results that support what is said.

Today, more than a collection of programs, the Foundation represents a way of contributing: with a long-term perspective, with responsibility, and with the conviction that when things are done well, the impact extends far beyond any single initiative.

OW: How do you view the world of opera in Latin America and its development of young talent? What are some obstacles across the different cultures that make it challenging to develop talent?

ARS: The world of opera in Latin America is experiencing a particularly interesting moment, marked by a clear combination of increasingly solid talent and a growing awareness of the need to strengthen the structures that support it.

From an artistic standpoint, the level is high and continues to rise. Today, it is entirely natural to see Latin American singers performing and excelling on major international stages. Training has improved, access to strategic information has increased, and a new generation is emerging that is not only vocally prepared, but also more aware of the market and how to project their own careers.

At the same time, this development has highlighted the opportunity to keep building an ecosystem that matches that level of talent. The region has important theaters, growing projects, and an activity that, while still uneven, shows clear signs of evolution. There is still room to strengthen production continuity, expand opportunities, and, above all, foster greater collaboration between countries. What matters is that today there is awareness of this gap and a real willingness to address it.

A clear example was the first edition of the Laffont Competition in South America, in which institutions such as Teatro Colón in Buenos Aires, Teatro Municipal de Santiago, and Teatro Mayor Julio Mario Santo Domingo in Bogotá were actively involved, recognizing the importance of working more collaboratively.

In this context, we are entering a stage where initiatives are emerging that not only aim to support talent but also shape it, generating more stage experience, improving access to international networks, supporting career decisions, and building more direct bridges with the global circuit.

When looking at the obstacles, they are not so much about cultural differences themselves, but about how those differences translate into conditions. Latin America is diverse, and that diversity is a strength, but it also means that levels of institutional development, access to resources, and continuity of activity vary significantly between countries. Added to this is a certain regional fragmentation and, in some cases, a historical distance from the main decision-making centers of the operatic world.

Another important factor is that opera is still, in many contexts, perceived as distant or inaccessible, which affects both audience development and the social validation of artistic careers. Finally, there remain gaps in access to strategic information and networks, which are crucial at key moments in professional development.

Young talent in the region does not need validation, that is already happening. What it needs is continuity: spaces in which to develop, make mistakes, grow, and consolidate over time. The challenge is to move toward models that can more consistently transform that talent into sustainable careers.

OW: Tell me about some of your major initiatives in helping develop Latin American talent in opera? Are there any artists that are a point of pride?

ARS: For years, support for talent in the region has largely taken the form of highly valuable initiatives such as competitions, scholarships, and concerts, which often function as isolated milestones. The problem is not those moments themselves, but what happens in between: the decisions, the doubts, the transitions, and the real opportunities for professional insertion. That is where many careers become fragile. In response to this reality, we have developed a way of working that seeks to accompany this process more comprehensively. It is not only about training, but also about guiding and opening doors.

The Ibáñez Atkinson Young Artist Program, for example, is one of the most visible components of this effort. More than a training program, it is a space where singers can experience what it means to be in a real professional environment. It operates at Teatro Municipal de Santiago, where, in addition to training and refining their skills with teachers and coaches from around the world, participants engage directly with productions, teams, and international standards. At the same time, they receive financial support that allows them to focus fully on their development, without constantly having to divide their time between training and survival.

Then there is a different stage, equally important and often more discreet: career management and entry into the international market. This is where our Artistas FIA program comes in, accompanying singers at that critical moment and helping them think through decisions that can affect their careers for years: what repertoire to pursue, when to audition, who to work with, which paths to take or avoid. This work is not always visible from the outside, but it is precisely where many careers either take off or falter.

Finally, there is the issue of access. Often, the talent exists and is ready, but lacks the means to reach where opportunities are. FIA’s international auditions aim to bridge that gap by bringing key decision-makers from the global circuit to the region and presenting them with a selection of singers from different countries.

We are very proud of the results achieved by artists who have gone through these programs, such as mezzo-soprano Camila Aguilera, currently in the opera studio at the Vienna Volksoper; baritone Ismael Correa, now at the Dutch National Opera Studio; and soprano Camila Romero, a semifinalist in the Laffont Competition, among others.

OW: You recently partnered with the Met Opera Laffont Competition. How did this partnership come about? What were some challenges in making it happen and how do you hope to develop it further. 

ARS: This partnership did not emerge overnight; rather, it is the result of a long process built over many years of quiet work. From the beginning, we understood that for something like this to happen, having a good idea was not enough. It required building a real relationship with the Metropolitan Opera, grounded in trust. That involved many conversations, meetings, collaborations, and, above all, demonstrating in practice that we could deliver high-quality work in the region.

For that reason, when it finally materialized, it carried special significance. For the first time in more than seventy years, the Laffont Competition created a structured platform for South America. This represents a profound shift: singers in the region no longer depend solely on traveling abroad or relocating in order to be heard. They can now do so within their own context, in line with international standards.

The main challenge was precisely bridging the gap, not only the geographic one, but also the cultural and institutional ones, between two worlds that operate in very different ways. It also meant ensuring that the Met would see us as a reliable partner. Today, the process is already underway, with online auditions, in-person rounds across different cities, and a final in New York. And there is one fact that speaks for itself: this has been the edition with the highest participation in the history of the competition.

Looking ahead, our focus is not only on making this happen once, but on consolidating it—expanding it to more countries and helping to build a more connected regional circuit. Within that context, we see Chile gradually assuming a role as a meeting point, a place from which part of this movement can be articulated.

OW: I also want to know about the other partnerships with other major international organizations and opera companies? How have those developed and what are some new partnerships that you are looking forward to engaging with?

ARS: In our case, international partnerships have never been about visibility, but about purpose. We do not seek to associate with institutions for what they represent, but for what we can build together and, above all, for the real impact that can have on artists’ careers.

We have developed relationships with organizations such as the Royal Opera House, Dutch National Opera, Vienna Volksoper, Paris Opera Competition, and Houston Grand Opera, among others. What matters is how these relationships translate into concrete work: masterclasses, auditions, training processes, and, in some cases, real opportunities for professional insertion. That is when a partnership truly begins to make sense.

None of this happens quickly. These are relationships built over time, with seriousness and consistency. It also requires a clear understanding of how that world operates, its codes, its timing, its standards, and, above all, positioning ourselves as a reliable partner: one that delivers, responds, and sustains what it proposes. A key shift in this process has been changing the way we relate to the international circuit, not from a place of need, but from a place of proposition. Not only seeking opportunities, but also offering well-designed platforms, prepared artists, and serious working environments.

At the same time, we see an important opportunity to keep strengthening ties with institutions in North America and Europe that are open to more structured, long-term collaborations. In parallel, there is a need for Latin America to better articulate itself as a region, more connected and more strategic in its approach.

The aspiration is for these partnerships to move beyond isolated moments and become part of a system that facilitates the integration of Latin American talent into the international circuit, allowing the impact to become truly systemic.

OW: Your programs aim to engage youth, including children and young adults. In your experience, why is it important for children to be exposed to opera at an early age and what can other organizations around the world do to inculcate a passion for opera at the youngest ages so that children can grow up to be the audiences of the future?

ARS: Because, ultimately, everything begins there. Without a foundation, it is very difficult for an ecosystem to sustain itself over time. The connection to opera, and to music more broadly, does not begin when someone decides to pursue it professionally. It starts much earlier, in childhood, with that first encounter, which can be as simple as singing, playing with the voice, or being moved by a story. That initial experience not only shapes potential artists; it also cultivates sensitivity, curiosity, and, ultimately, audiences.

It is not enough to take a child to the opera once. What truly makes a difference is repetition, that the experience evolves and grows with them. That music and performance become part of their everyday experience, rather than something exceptional. When a child becomes involved, opera stops feeling distant and becomes a language they can make their own.

It is also essential to reduce the distance that often separates this world from the public. Opening rehearsals, showing how artists work, and making the creative process visible all help shift opera from being perceived as inaccessible to something closer, more understandable, even familiar. A key role in this process is played by mediators: teachers, choir directors (choirs have historically been an extraordinary gateway), and educational communities. They are the ones who sustain the relationship over time.

Opera is a powerful way of understanding human emotions, conflicts, and stories. When that is effectively conveyed, the connection becomes much deeper. And ultimately, it is essential to pay attention to those who show interest and to accompany them. Because it is through that continuity that future audiences are truly formed.