Send us an email!
Like us on Facebook!
Follow us on Twitter!
Check out our Instagram feed!


The Industry is an independent, artist-driven company creating experimental productions that expand the definition of opera. In just a few short years, The Industry has been praised for “quickly and dramatically making itself an essential component in American opera” (Mark Swed, Los Angeles Times) and “turning opera into an LA indie hipster’s paradise” (Shana Dambrot, LA Weekly). By merging media and through interdisciplinary collaborations, The Industry produces works that inspire new audiences for the art form. The Industry serves as an incubator for new talent and for artists predominantly based in Los Angeles.


Named a “Face to Watch” in 2012 by the Los Angeles Times, Yuval Sharon has been creating an unconventional body of work exploring the interdisciplinary potential of opera.  His productions have been described as “powerful” (New York Times), "virtuosic" (Opernwelt), "dizzyingly spectacular” (New York Magazine), “ingenious” (San Francisco Chronicle) and “staggering” (Opera News).

Yuval directed a landmark production of John Cage Song Books at the San Francisco Symphony and Carnegie Hall with Joan La Barbara, Meredith Monk, and Jessye Norman.  He made his European debut with John Adams’ Doctor Atomic at the Badisches Stadtstheater Karlsruhe in a highly acclaimed production that has been invited to Seville in 2015.  For four years, Yuval was Project Director of New York City Opera’s VOX, an annual workshop of new American opera, which became the most important crucible for new opera in the country under his direction.

Yuval founded and serves as Artistic Director of The Industry.


Marc is the Music Director of The Industry.  He has conducted the premieres of several new operas including The Mortal Thoughts of Lady Macbeth, Dice Thrown, The Scarlet Letter, The Peach Blossom Fan, and WET, and the American premieres of Schaeffer’s Loving and Aperghis’ Sextuor.  For four years he conducted with the New York City Opera’s VOX new music festival and he has conducted on the Monday Evening Concert Series, with Jacaranda, with the Ear Unit, the Vinny Golia Ensemble, the Kadima Conservatory, the CalArts New Century Players, and Ensemble Green.  He was the founder and music director of the Berkeley Contemporary Opera, a company that produced four seasons of contemporary operas.

As a singer, he specializes in contemporary music and has performed over twenty-five opera roles including the premiere of What to Wear by Michael Gordon and Richard Foreman.  Marc has written a full-length opera based on the screenplay to The Fisher King, is working on a children’s opera, and has written several shorter chamber works.

He has been a professional whistler, plays klezmer clarinet, and he teaches theory, conducting, composition and history at CalArts.


Elizabeth Cline has dedicated her career to supporting interdisciplinary artists and artistic communities.  For the past eight years she has curated and produced performative, site responsive works across Los Angeles.  Previously she was the Assistant Director at Machine Project, an arts non-profit in Los Angeles and a Curatorial Associate at the Hammer Museum, where she organized artist’s projects in the Public Engagement program.  Elizabeth has taught and lectured about contemporary art practices at Art Center College of Design, Pasadena; The School of the Art Institute of Chicago; Columbia College, Chicago; The Getty Museum, Los Angeles; Hammer Museum, Los Angeles; Portland Art Museum, Portland and The Rubin Center, El Paso.

As a librettist and director, her work explores consciousness through subjectivity and time.  Her first opera, Tragedy on the Sea Nymph, starring an all dog cast, premiered in 2010 at Machine Project (Los Angeles) performed by the Calder Quartet, in 2012 it travelled to The Walker Art Center (Minneapolis), and then was featured at the 2013 Biennial of the Americas (Denver) performed by the Colorado Symphony Orchestra.  In 2013 her chamber opera The Edge of Forever, inspired by the ending of the Mayan long count calendar, was performed by LA-based chamber music ensemble wild Up, conducted by Christopher Rountree, at The Philosophical Research Society (Los Angeles).

Mary Ann O'Connor - Chairperson
Nadine Kreisberger
Caroline Mankey
Adam Paris
Joshua Raab
Mark Hoebich
Fariba Ghaffari
Betsy Greenberg
Hyon Chough
Yuval Sharon
Elizabeth Cline


Thomas E. Backer, PhD
Claudia Bestor
Ava Bromberg
Steven Lavine
Mary Lou Falcone
Kathleen Mahoney
Meredith Monk
Merry Norris
Abby Sher

Feel free to Contact Us with any media or press enquiries.
You can also download our Press Packet HERE.
"The Industry is quickly and dramatically making itself an essential component of American opera. FIRST TAKE could be the start of something big. The company is now indispensable to the LA opera scene."
–Mark Swed, Los Angeles Times  ( First Take '13 )
“Is This the Opera of the Future?  Invisible Cities may be thematically timeless, but it represents the leading edge of operatic innovation — a bold effort to create individualized experiences within the context of a communal performance.”
–Jeffrey Marlow, Wired Magazine  ( Invisible Cities )
“In an era of digitally projected IMAX 3D movies, on-demand television and hyperrealistic, open world video games, the centuries-old art form of opera might appear to have become something of a technological relic.  But in an effort to breathe new life into the medium, a trio of companies has come together to create something never before attempted: an opera whose soundscape exists entirely in the audience’s headphones, and a performance that bleeds directly into the physical space of its surroundings.  The line between performer, audience member, and onlooker blurred; the experience was somewhere between a traditional opera, an alternate reality game (ARG), and a piece of high-tech performance art.”
–Evan Shamoon, TechHive  ( Invisible Cities )
“The Industry, L.A. Dance Project and audio specialist Sennheiser push the boundaries of art, imagination and wireless technology for an unprecedented, interactive dramatic experience, allowing the audience as well as by-standers in Los Angeles’ Union Station.  I was totally immersed in the moment, feeling a part of the scene as if the spirits were singing only to me and I was a part of them.  I know other audience members were taking photos of the moment and I can only imagine the look of wonder on my face.”
–Shari Barrett, Broadway World  ( Invisible Cities )
“The hottest ticket in town.  A movable feast: you’re encouraged to wander under the train station’s noir-glam arches and through manicured grounds, where performers are waiting for you to discover them.  You might happen upon pirouetting dancers from Benjamin Millepied’s LA Dance Project.  Or find a soprano warbling in a corner, her voice amplified by a hidden microphone into your headphones.  It’s the high-concept project of director Yuval Sharon, whose fledgling company The Industry is fresh from wowing audiences last spring with a different production.  This time the work is even more ambitious.  Finally, someone who’s made opera accessible and fun.”
–PureWow  ( Invisible Cities )
“A creative journey of wonderment.  The Industry, in its world premiere presentation of Anne LeBaron’s super- duper hyperopera, truly achieves the goals of Artistic Director, Yuval Sharon: ‘to expand the traditional definition of opera and create a new paradigm for interdisciplinary collaboration.’  A multimedia work of the quality of Crescent City has been a long time coming.”
–The Examiner  ( Crescent City )
“Exuberant and wonderfully performed: Crescent City reshapes LA opera.”
–Mark Swed, Los Angeles Times  ( Crescent City )
“A hugely ambitious and promising world premiere from a new company that may have changed the face of music-theater in this town overnight.  That they’ve managed to produce something so attractive and professionally done right out of the bat is cause for celebration.  There’s not a non-commanding image or uninteresting moment in the show.

Most importantly, a band of Los Angeles based artists have come together to produce a huge, elaborate work right here without just emulating a pattern developed elsewhere or with imported elements from whatever worked out of town.  One hopes this is only the beginning for The Industry, because with them the future of performance in the city looks decidedly brighter.”

–Out West Arts  ( Crescent City )


The ATE 9 dance company, along with choreographer DANIELLE AGAMI, have collaborated on several Industry productions.

BEXEL was a key technology partner for our production of INVISIBLE CITIES.

The California Arts Council is a generous supporter of The Industry.

The HAMMER MUSEUM has served as a venue and producing partner for several Industry projects.

KCET's Artbound program gave a new voice to our production of INVISIBLE CITIES.

LA DANCE PROJECT was a collaborator on our 2013 production of INVISIBLE CITIES.

The Industry is supported by the LA County Board of Supervisors through the LA County Arts Commission.

METRO was a producing partner for our 2013 production of INVISIBLE CITIES at L.A. Union Station.

The National Endowment for the Arts supports The Industry's programming, including our premiere of HOPSCOTCH.

The Industry is a proud Professional Company Member of Opera America.

PODIO very generously sponsors project-management software to keep The Industry's creative team connected.

SENNHEISER USA provided the audio technology and expertise that brought INVISIBLE CITIES to life.

The Industry is supported by MUFG Union Bank, N.A..

WILD UP! and conductor Christopher Rountree have become frequent collaborators with The Industry.


contact [at]

PO Box 291726
Los Angeles, CA 90029
(718) 812-9159