“It’s difficult to forge really deep artistic relationships in this world,” said Aucoin. “And I knew who my closest friends and favorite colleagues were, and so I wanted to gather a bunch of them together and make stuff.”

One of those friends is Zack Winokur, choreographer, dancer, Juilliard graduate, and co-artistic director of AMOC. He and Aucoin grew up only a few miles apart in suburban Boston, but never met until they were introduced in their mid-20s at a lunch hosted by a mutual friend. The connection was instant.

“He felt like an artistic soul brother,” said Aucoin, “and here we are.”

Juilliard, the famed New York conservatory, is one artistic thread that runs through the company (Aucoin has a graduate diploma in composition from the school). Harvard, whose robust arts scene has inspired many students to pursue creative careers, is another.

Tines took part in the Dunster House Opera Society (today Harvard College Opera), and was also president of the Harvard-Radcliffe Orchestra. The singer appeared in Aucoin’s “Crossing,” which premiered in Boston in 2015 under the direction of the A.R.T.’s Diane Paulus, and most recently with the San Francisco Opera’s premiere of “Girls of the Golden West,” by composer John Adams ’69, A.M. ’72, and librettist Peter Sellars ’80.

AMOC’s managing director is Jennifer Chen ’11, who served as general manager of the Bach Society Orchestra at Harvard. She met Aucoin while working on the Dunster House Opera Society’s staging of Igor Stravinsky’s “The Rake’s Progress.” The Harvard production remains a favorite among those she’s played a part in, said Chen, and was a “testament to both what students are able to achieve and what a container the University is for allowing students to do so.”

“A lot of these collaborations that germinated during that time have clearly lived on,” Chen added, “and these are people who I am still working with this many years later.”

Chen landed a job at the Boston Symphony Orchestra after graduation. Soon after, a project at the Peabody Essex Museum in Salem, where Aucoin was a resident artist, led to a reunion. That collaboration, Chen said, was a “prelude to AMOC.”

“Through that process I was evaluating what my next career step would be and decided to go to business school to gain some of the hard skills and a different perspective of what our work was in the arts,” said Chen who got involved with AMOC during her second year at the Yale School of Management, in 2016, and came on full-time after graduating this past May.

Company members share a vision for what the future of opera can be, Aucoin said, and have been “working in the world long enough both to get the lay of the land and to form opinions about what might be done better.”

And for the composer and his fellow artists, better can take many shapes and forms.

“A piece of ours [may] just have a violinist and a dancer and yet for us we hope that the way we stage it will feel like opera, for me in the way that some of the later Beckett plays feel like opera because they make you so intensely aware of pure sound and gesture,” said Aucoin.

AMOC will be back on campus Feb. 23 through March 4, leading workshops and performances and engaging with students during a 10-day residency sponsored by the Office for the Arts and the Office of the Dean of Arts and Humanities.

“We are just going to make ourselves available and will be doing the work that we would be doing otherwise,” said Aucoin, “but with the doors wide open.”