Charlotte arts group shakes up leadership again, restructures as deficit rises

Opera Carolina has another new leader heading into its 77th season, as one of the oldest arts groups in Charlotte attempts to stabilize itself following two years of executive turnover and internal controversy.

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Maestro Stefano Vignati, who is Opera Carolina’s music director and principal conductor, also is now the general director, Opera Carolina announced last week.

What’s more, Opera Carolina has launched a cost-savings restructuring plan focused on debt reduction and financial recovery, Vignati said. “My vision for Opera Carolina is to cultivate a company that is more dynamic, adaptable and efficient across all aspects of its operations,” he told The Charlotte Observer by email.

Vignati did not provide specifics of what the restructuring would look like but said Opera Carolina is not alone facing financial challenges. From the Metropolitan Opera in New York to regional companies, the entire industry has been adapting to changing audience habits, rising production costs, and shifts in philanthropic giving, he said.

Opera Carolina saw a steep 67% decline in total revenue over a four-year period, and its liabilities exceeded its assets by nearly $4 million, according to its latest tax return.

Opera Carolina refused to comment for this story about what prompted its latest leadership changes. “Our focus is on moving Opera Carolina forward, not looking backward,” the company said in a statement.

Vignati replaced Shanté Williams, who quietly announced her exit on Instagram July 2 after two years in the role. She listed her time with Opera Carolina as ending in June on her LinkedIn page.

In another leadership change, architect Paul Kardous has been appointed as chairman of the opera’s Board of Directors. He replaces Carol Kendrick, who is still listed as being on the board on the opera’s website.

The leadership changes and restructuring come as the opera company prepares for a new season. The organization said it is focusing on “artistic excellence, financial sustainability, community engagement and international collaborations.”

Founded in 1948 by the Charlotte Music Club, Opera Carolina is the largest professional opera company in the Carolinas. It serves more than 70,000 people in North Carolina, South Carolina and northern Georgia.

In its mid-July announcement about Vignati becoming general manager, Opera Carolina made no mention of Williams or why she left. When Williams was announced as the new general manager in mid-2024, Kendrick touted her record of success in fundraising and business.

Williams was the opera company’s first Black leader. “Together we broke the brains of people who had a fixed idea of what opera means, who should lead it, and who is in the audience,” Williams said on Instagram.

Williams told the Observer that her primary focus was on restructuring the organization’s finances, clearing debt and improving operational health, rather than pursuing a long-term career with Opera Carolina.

Williams was the second woman to lead Opera Carolina. She succeeded long-time leader Maestro James Meena, who had also served as the opera’s principal conductor.

She said her tenure wasn’t always pleasant, citing personal and racial attacks, even threats.

“It’s never easy to come into an industry that you know may not be as diverse on the leadership side of things … should they be an artist, or should it be someone really thinking about the business? And I came in really from the business side of things,” Williams said.

Opera Carolina has seen significant upheaval since 2024, including public and internal criticism over questions regarding nepotism and the leadership structure.

Meena stayed on as artistic director when Williams was hired in 2024 to oversee business operations as general director. But by early 2025, Meena was out.

In February 2025, Opera Carolina announced that Claudio Ferri would replace Meena as artistic director. Ferri, who is Vignati’s spouse, also was named deputy general director of the opera in 2024. They were married when Meena hired them.

While the opera company characterized the change as Meena stepping down to pursue other opportunities, he later refuted what he called “unsubstantiated rumors” regarding financial misconduct in a video posted on social media. Meena said his contract was terminated prematurely, a dispute highlighting internal discord.

Meena started his own training program and performance company in March.

There was also a lawsuit filed in December 2024 by a former Opera Carolina employee in Mecklenburg County Court. Michael Baumgarten said Opera Carolina and Williams failed to uphold his employment contract as director of production when he was fired without cause. He’d been with the opera since 1985.

In October 2025, Baumgarten dropped his claims against both Opera Carolina and Williams, court documents show. Williams, who had filed counterclaims against Baumgarten for allegedly making false and defamatory statements about her and tarnishing her reputation, also voluntarily dismissed her suit at the same time.

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Opera Carolina has seen turnover with other longtime employees this year.

Arts administrator Alina MacNichol retired in May after 12 years, according to the group’s social media. Production stage manager Valerie Wheeler left in March after more than 13 years, according to her LinkedIn page.

And Emily Jarrell Urbanek, chorus master and director of music preparation since 2007, also left in March, according to her LinkedIn page. Urbanek and Wheeler declined requests for comment, and MacNichol did not respond.

The opera company currently lists six staff members on its website.

While Opera Carolina refused to say how big of a staff reduction it underwent, Vignati noted the change was part of the restructuring and that the company will be hiring for new key professional roles.

The leadership moves and restructuring comes as Opera Carolina has been facing a decline in revenue and net assets.

In the 2021-22 fiscal year, Opera Carolina reported total revenue of $3.7 million and total expenses of about $3.2 million. But the company ran deficits over the next three fiscal years.

In the group’s most recent tax filing, for the fiscal year ending June 30, 2025, total revenue fell to $1.2 million and expenses were a little over $2 million, resulting in a deficit of $847,020.

Williams compensation was listed as $143,750 in 2024-25, according to the tax filing.

Opera Carolina is tackling industry-wide financial challenges with a disciplined, three-year recovery strategy, according to Vignati.

By balancing strict fiscal management with an aggressive plan to diversify support and expand with new donors, the organization aims to ensure long-term stability while continuing to deliver high-quality artistic programming to Charlotte.

“The pace of that recovery will naturally depend in part on the generosity of our donors and partners, but we have a clear strategy, measurable goals, and a commitment to transparency and accountability throughout the process,” Vignati said.

With 35 years of international experience in the industry, Vignati plans to build more partnerships worldwide to create more visibility and opportunities for artists, audiences and the Charlotte community.

“We want people to understand that opera is much more than entertainment,” Vignati said. “Every performance comes together with an extraordinary community of artists, musicians, technicians, craftspeople, educators, administrators, volunteers and countless others who dedicate their talent and passion to bringing opera to life.”

Opera Carolina cited international collaborations, such as Vignati’s work with the Puccini Festival in Italy and international voice competitions.

The upcoming opera season has more major productions that the company put on during its current season, which listed three main stage shows but put on two.

“The Medium” scheduled in April did not go on, and Opera Carolina would not say why. It was supposed to have starred legendary opera star Denyce Graves, but she retired in January. The Metropolitan Opera’s “Porgy and Bess” as her final show, under the baton of Charlotte Symphony maestro Kwame’ Ryan.

The new opera season includes a performance of Mozart’s “Requiem” on Sept. 11, commemorating the 25th anniversary of 9/11 attack; Gian Carlo Menotti’s “The Medium” on Nov. 14, Giuseppe Verdi’s “La Traviata” April 10-11, “Pups & Puccini” animal adoption outreach June 15, and Marcello Giordani International Voice Competition, presented with the International Lyric Academy and Wilma Ahrens, June 15-19.

Opera Carolina also has launched a fundraising campaign, which officials say will support artistic productions, education initiatives and long-term financial growth.

“What excites me most isn’t just a single production or event, it’s the spirit of this season,” Vignati said. “It represents collaboration, innovation and renewal.”

Williams, who appointed Vignati as the organization’s music director and principal conductor just over a year ago, expressed confidence in Opera Carolina’s future.

“He’s well-equipped for the task,” Williams said. “I think I’ll stay out of the way so that the new leadership can try their own path and tell their own story.”

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This story was originally published July 24, 2026 at 5:55 AM.