Board of Directors

Opera Rara’s Board is made up of a distinguished group of people with experience across a range of disciplines including the law, business and the arts. 

Charles Alexander CBE

Chairman

Philip Eisenbeiss

Adolfo Laurenti

Alison Nicol

Anthony Freud OBE

Bruce Mauleverer KC

Islée Oliva Salinas

Nicholas Thomas

Glenn Hurstfield

Simon Mortimore KC

Terence Sinclair

Development Committee

Dori Dana-Haeri

Terence Sinclair

Glenn Hurstfield

John Tierney

Islée Oliva Salinas

American Friends Committee

Islée Oliva Salinas, Chair

Jennifer Marling

Adolfo Laurenti, Vice-Chair

Allan Heinberg

Artist Ambassadors

Opera Rara’s Artist Ambassadors work to raise the international profile of the charity, assist in the development of new projects and educational activities and feature in our recording and performance projects.

Ermonela Jaho

“I love to work with Opera Rara because they make fabulous operatic discoveries come to life for us all to enjoy. In this noisy world, this beautiful music from the past sings to our inner spirit. I feel that I am a part of a unique family of artists, researchers, and supporters who are passionate about the past made new.

Michael Spyres

“Opera Rara is an invaluable institution that has broadened the horizons of the opera world, by rediscovering the great lost works of the past. No other institution has done as much for the world of opera in terms of research, recording, and education than Opera Rara, and we all owe them a debt of gratitude. Countless individuals such as myself have made their careers with the help of Opera Rara.

Honorary Artist Patron

Opera Rara is very proud to have Renée Fleming, one of the world’s most famous singers, supporting our extraordinary work.

Renée Fleming

“Any lover of opera should be grateful for the existence of Opera Rara. I know the value of this work from my own experience recording Donizetti’s Rosmonda d’Inghilterra with them. Without Opera Rara, recordings like that just wouldn’t be made and countless musical treasurers would remain essentially lost, unheard and unappreciated by contemporary and future audiences.”