In this second of two episodes dedicated to opera, Philip talks about the business of opera and the role a Music Director plays in day-to-day financials, operations, planning and fund raising that drive an opera company. He uses his 17 years of experience with Minnesota Opera and conducting experience around the world as a tapestry for illustrating the collaboration between composers, stage directors, singers and instrumentalists in getting work from theory to closing curtain. Philip recalls his experiences commissioning and working with American composers including Conrad Susa and Dominick Argento. Later on, he dives into a brief history of bel canto arias, and we discuss why the musical Hamilton is unlikely to make an appearance at your local opera house. Philip also compares and contrasts the role of a music director in an opera company with that of a music director in a church setting. We end the discussion with Philip’s perspective on the future of opera around the world.