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Administrator/Trustee Resources & Archives
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About the Archives
OPERA America’s comprehensive Archive, containing hundreds of articles, podcasts and videos, is a rich resource of information for artists, company staff and opera patrons alike.
The Archive contains articles from 1999 to the present, covering topics like fundraising, health, marketing, new works, performance skills, mentoring and finance, written by OPERA America staff and outside industry experts.
Podcasts and videos in the Archive provide invaluable access to OPERA America events such as the Annual Conference and Making Connections.
Full access to the Archive content is available only to OPERA America members. If you are not a member, please view the membership page to learn more.
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Search the Archives
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From the Archives
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Popular Administrative/Trustee Resources
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Advocacy & Public Policy Update
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About OPERA America's Advocacy Efforts
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Latest News & Alerts
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OPERA America represents the interests of the opera community before Congress, the White House and federal agencies. As a founding member of the Performing Arts Alliance, OPERA America works with the performing arts field to advocate for the development of national policies that recognize and strengthen the contributions that the arts make to America.
For more information on OPERA America’s advocacy activities, please contact OPERA America’s Government Affairs Office at 202-375-7523.
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Latest Video & Audio Additions
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Fundraising for Independent Artists
Dianne Debicella, program director, fiscal sponsorship, Fractured Atlas; Eve Gigliotti, mezzo-soprano; Anne Ricci, general managing diva, Opera on Tap
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Desktop PCM Directory
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The desktop directory application is available for download to all PCM members.
You must be logged in to download the directory.
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Current Headlines
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Classical Music is Supreme Today at the Nation's Highest Court
By Anastasia Tsioulcas
• Deceptive Cadences (NPR) • Wednesday, May 16, 2012
This is a big week for classical music at the Supreme Court. Justice Ruth Bader Ginsburg provided Alex Ross at The New Yorker with a list of her favorite records. Not only does Justice Ginsburg have impeccable taste in opera — from Placido Domingo's classic Otello to the Nathan Gunn/Ian Bostridge Billy Budd — but her son, James Ginsburg, has become an important force in promoting Chicago-area musicians via his record label, Cedille...
To top it off, Justice Ginsburg — who has made cameo appearances in Ariadne auf Naxos and Die Fledermaus at the Washington National Opera — hosted last year's NEA Opera Awards.
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Audra McDonald: Shaping 'Bess' On Broadway
By Staff
• NPR • Tuesday, May 15, 2012
Audra McDonald has starred in stage classics and on TV, where she played a leading role on the ABC drama Private Practice for
four seasons. But the actress might be better known for her stunning
voice and for her performances in the Broadway productions of Carousel, Master Class and Ragtime, which helped her rack up three Tony Awards before the age of 30. She won a fourth Tony for her performance in A Raisin in the Sun, putting her in the company of Broadway greats Gwen Verdon and Mary Martin.
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Kid Rock, DSO concert raises $1 million, but also profile of orchestra with new audience
By Mark Stryker
• Detriot Free Press • Tuesday, May 15, 2012
Now that my ears have finally stopped ringing after Saturday night’s explosive collaboration of Kid Rock and the Detroit Symphony Orchestra at the Fox Theatre, I want to put an exclamation point on a truly extraordinary night for the orchestra. The concert sold out the 5,000-seat theater and raised $1 million for the cash-strapped DSO. But the money only begins to get at why Saturday was a landmark for the symphony and why, in the wake of last year’s divisive musician strike, last week served as a microcosm of how the orchestra is rebuilding and rebranding itself.
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The New Opera Audience
By Keith Cerny
• TheaterJones • Tuesday, May 15, 2012
Many leaders in the opera field, including myself, are regularly asked the question, "How can we develop the 'new' opera audience?" The questioner usually takes the view that the opera audience is too narrow, and aging out, and that the next generation is lagging in their commitment and interest. Implicit in his or her question is that this is a new phenomenon that current leaders in the field may not be addressing adequately. Consider, though, the following true stories:
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