Today we’d like to introduce you to John Tibbetts.
Hi John, so excited to have you on the platform. So before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
Amelia Island Opera was founded by Victoria Isernia, Robyn Marie Lamp, and me to bring professional opera and vocal programming to Nassau County and to create meaningful opportunities for artists at different stages of their careers. Over the past five seasons, we’ve grown from a small startup organization into a year-round arts organization serving audiences throughout Northeast Florida.
Season 5 was our most ambitious and successful season to date. We presented five consecutive sold-out performances, culminating in a double bill of Leonard Bernstein’s *Trouble in Tahiti* and Rossini’s *Il Signor Bruschino*. Earlier in the season, we presented concerts, educational programs, and special events that continued to expand both our audience and our artistic reach.
This season also marked the launch of our inaugural Young Artist Vocal Competition, through which we awarded more than $3,000 in prize money to talented young singers. The competition was created to provide meaningful performance opportunities, professional feedback, and financial support for the next generation of vocal artists.
Education continues to be a major focus of our work. This summer, we’re presenting our Singing Actor Youth Workshop, a week-long program that introduces young performers to singing, acting, movement, and stagecraft, culminating in a public performance for family, friends, and the community.
One of the things I’m most proud of is that our growth has been driven by community support. Every season has allowed us to take on more ambitious projects, employ more artists, and create more opportunities for audiences to experience live vocal music on Amelia Island. As we look toward Season 6, we’re excited to continue building on that momentum with larger productions, new partnerships, and expanded educational programming.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
While the journey has been overwhelmingly positive, one of the biggest surprises was realizing how much of running an opera company involves managing the unexpected.
Sometimes managers want to renegotiate terms, artists don’t communicate as clearly as they should, singers get sick, travel plans change, or last-minute issues arise that no one could have predicted. Add to that the logistical challenge of coordinating dozens of artists, musicians, staff members, and volunteers across multiple states, and there is always something that requires attention.
Learning how to delegate has also been incredibly important. In addition to being a performer, I’m helping run an organization, coordinating productions, raising money, marketing events, managing artists, and maintaining a personal life. Early on, I wanted to have my hands in everything. Over time, I’ve learned to trust the talented people around me and allow them to take ownership of different parts of the organization.
That said, every challenge has made us stronger. We’ve become better at contracting, planning, communication, and building systems that allow the organization to continue growing. Looking back, the obstacles were rarely about opera itself; they were about learning how to build a sustainable organization capable of producing it.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
As Artistic Director and Co-Founder of Amelia Island Opera, my work spans artistic planning, casting, fundraising, production management, and community engagement, in addition to my career as a professional baritone.
What I’m most proud of is our ability to adapt and solve problems creatively. This past season, we originally planned to produce Massenet’s *Werther*. As circumstances evolved, we made the difficult decision to postpone the production to 2027 and completely rethink our season finale. That meant changing venues, rebuilding a five-figure budget, hiring new artists, and creating an entirely new production plan.
The result was a double bill of Bernstein’s *Trouble in Tahiti* and Rossini’s *Il Signor Bruschino*, which became one of the highlights of our season and helped lead to five consecutive sold-out performances.
What sets Amelia Island Opera apart is our commitment to treating artists professionally and paying fair wages. As working performers ourselves, we understand the realities artists face, and we’ve made it a priority to compensate people fairly whenever possible. We believe strong arts organizations are built by investing in artists, and we’re proud that our growth has allowed us to create more paid opportunities each season while continuing to serve our community through high-quality performances, educational programs, and artist development initiatives.
Any advice for finding a mentor or networking in general?
Finding a mentor can be helpful, but most people are busy with their own careers and challenges. Instead of looking for someone to take you under their wing, focus on learning from the people around you and building genuine relationships over time.
When it comes to networking, being approachable is important. Nothing turns people off faster than a big ego or someone who only talks about themselves. The people who make the strongest impression are usually the ones who listen.
What has worked best for me is patience. Most people are focused on their own priorities, so don’t take things personally when emails go unanswered or opportunities don’t materialize immediately. Build relationships slowly, be someone people enjoy working with, and let trust develop over time.
Contact Info:
- Website: https://www.ameliaislandopera.org/
- Instagram: https://www.instagram.com/ameliaislandopera/
- Facebook: https://www.facebook.com/AmeliaIslandOpera/
