Meaning: This quote by Harrison Birtwistle, a prominent British composer, offers an insightful comparison between the world of theater and opera. In this quote, Birtwistle suggests that the theater operates with a short-term focus, while opera takes a long-term perspective. The quote highlights the differing attitudes and planning horizons within these two performing arts disciplines.

In the context of theater, the statement "The theatre only knows what it's doing next week" implies a sense of immediacy and short-term planning. The nature of theater productions often involves shorter rehearsal periods, limited runs, and a more fluid schedule. Theatrical productions typically have a faster turnover, with plays and performances changing frequently, often on a weekly basis. This dynamic and constantly evolving nature of theater aligns with the idea that the focus is on what is happening in the immediate future rather than long-term strategic planning.

On the other hand, the quote alludes to opera's long-term planning approach with the statement "not like the opera, where they say: What are we going to do in five years' time?" Opera companies often engage in long-range planning due to the scale and complexity of their productions. Opera repertoire and productions are carefully curated and scheduled years in advance, with artistic directors, conductors, and performers making commitments well ahead of the actual performance dates. This long-term perspective reflects a more strategic and forward-thinking approach to programming and production within the opera world.

Birtwistle's comparison sheds light on the contrasting attitudes and philosophies that govern the operational and artistic decisions within these two performance art forms. The theater's short-term focus allows for a more agile and flexible approach to programming, enabling rapid adaptations to current trends and audience preferences. In contrast, opera's long-term planning horizon facilitates the meticulous coordination of resources, talent, and creative vision necessary for staging elaborate and grand productions.

Furthermore, the quote also hints at the different challenges and opportunities faced by theater and opera practitioners. Theater artists may need to adapt quickly to changing circumstances, experiment with new works, and respond to immediate audience feedback. This constant evolution and responsiveness to the present moment are defining characteristics of the theater world.

In contrast, opera companies must carefully strategize their repertoire choices, production investments, and talent acquisitions to ensure the success of productions that often require substantial lead time for preparation and execution. The long-term planning in opera provides stability and the opportunity for artistic exploration and innovation over an extended period.

Moreover, this quote serves as a reminder of the diverse artistic ecosystems and operational dynamics within the performing arts industry. It emphasizes the need for flexibility, adaptability, and long-term vision in opera, while recognizing the value of immediacy, responsiveness, and short-term planning in theater.

In conclusion, Harrison Birtwistle's astute comparison between the theater and opera encapsulates the distinct temporal perspectives and attitudes prevalent in these two performing arts disciplines. The quote enriches our understanding of the operational and artistic considerations that shape the production and programming decisions within the theater and opera worlds, highlighting the interplay between immediacy and long-term planning in the performing arts.