In his doctoral dissertation Opening Opera, H.R. Ingvarsson proposes a framework for integrating methods from improvised theatre into the creation and rehearsal processes of new music-dramas. He emphasizes that opera should not remain a closed system dictated solely by pre-written scores and rigid rehearsal routines. Instead, it should function as an open creative space where performers can actively engage and co-create in real time. This approach radically reshapes the traditional power dynamics between performer, director, and score, granting singers greater agency and authorship.

For performers, Ingvarsson advocates for what he calls “openness within structure”. He suggests that within the given musical and dramatic framework, intentional spaces should be left open for singers to make spontaneous decisions regarding emotional expression, vocal intonation, and physical movement. He recommends cross-disciplinary training—such as improvisational theatre, movement-based practices, and vocal workshops—to expand performers’ awareness and expressive vocabulary. This enables them to craft compelling and coherent performances, even in the absence of scripted dialogue or fixed melodic lines.

Musically, Ingvarsson stresses that the accompaniment in improvised opera must be “responsive”, rather than prescriptive. Accompanists are not merely providers of background harmonies or fixed rhythms, but active co-performers who listen and interact in real time. He encourages the use of graphic scores, non-linear segments, and multi-track systems, allowing the music to adapt fluidly to the performers’ states and to evolve through performer-accompanist collaboration. This dissertation offers a comprehensive theoretical and practical methodology for creating improvised opera.