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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Original Article:
Reading to Write: A Book List for Composers
Staff ,
Original Content
Composers are rarely limited by the domain of music; they are inspired by all of their senses. Writing a piece is an extension of your experiences and reflects the language you speak musically and otherwise. At OPERA America, we love using books as a tool for inspiration. We discussed literature and reference texts with industry experts and compiled a reading list for opera composers with topics in technical skills, biographies, history, business, publishing, vocal reference and a few from other art fields. As you explore these resources, take your investigation beyond the page. Interact with singers, work backstage, listen and analyze scores to form an intimate relationship with opera writing.

Related Article(s):
Governance and the Artistic Product
Kelley Rourke ,
Opera America Magazine1/1/1900
Every opera production is a complex machine comprising many moving, delicate and unpredictable parts, so planning a successful opera season is a piece of almost impossibly sophisticated engineering. In addition to encyclopedic knowledge of operatic repertoire and creative and performing artists, season planning requires technical and financial savvy, intimate acquaintance with company strengths and weaknesses, and an understanding of what excites audience members — current and prospective.
Complementary and Alternate Therapies for Singers
Megan Young, Artistic Services Manager, OPERA America ,
Voices1/1/1900
In this information age, it's downright difficult to dodge the constant deluge of advertisements telling us how we can live longer, lose weight, gain weight, lose wrinkles, gain energy, and find inner peace, all from calling a 1-800 number and swallowing a magic pill (at the low, low price of only $60 a bottle!). Unfortunately, there is no magic pill that will instantly transform you from a mercurial, vulnerable singer to a balanced, self-assured conqueror of the musical stage. But there are a multitude of complementary and alternative therapies that, when practiced with care and patience (along with regular check-ins with your primary care physician), can help you to achieve a better balance in your life, both professionally and personally. You are your instrument, after all, and taking care of your instrument should be your highest priority!
Making Early Opera Sing
James Bash ,
Opera America Magazine1/1/1900
One of the major recent trends in opera has been the resurgence of operas written before the time of Mozart. The gems of Monteverdi, Gluck, Handel and others are being dusted, polished and displayed, dazzling opera fans across North America. A handful of companies — such as Toronto's Opera Atelier or Washington, D.C.'s Opera Lafayette — specialize in this repertoire.
Creating and Performing Educational Programs
Kathy Erlandson Soroka ,
Voices1/1/1900
As young singers await their big career opportunities, they may lose sight of the opportunities they have now to practice their craft and share generously with audiences. Young singers often forget the most important part of being an artist — connecting their humanity to the music and to their audiences.
NEA Opera Honors: Recognizing American Opera's Brightest Lights
Barrymore Laurence Scherer ,
Opera America Magazine1/1/1900
With the exceptions of chant and unaccompanied solo song, opera is probably classical music's oldest continuous genre. Invented just before 1600, it predates the symphony and string quartet, as well as the multi-movement concerto, all of them 18th-century developments. Therefore, it is no small matter that America, which as a nation came relatively late to opera, has produced an enormous wealth of operatic talent. OPERA America counts 114 professional companies in 43 states in its membership. Over half of these companies were established after 1970, and one quarter of the total were established since 1980.
Refining the Dramatic Rhythm
Kelley Rourke ,
Opera America Magazine1/1/1900
In an interview for Opera Canada, author and librettist Margaret Atwood likened the writing of a libretto to the construction of a coat-hanger: “If it’s a bad coat-hanger, that will be unfortunate, but if it’s a good coat-hanger, nobody will notice it.”

Is it possible for librettists to assess the sturdiness of their creation before entrusting the extravagant weight of an opera score to its delicate structure? Can words meant for music be evaluated in the absence of that essential element?

The Libretto Reading Series at Brooklyn’s American Opera Projects attempts to do just that, giving artists opportunity to hear a work read aloud and then discuss its structure, characters, themes and pacing. “While obviously spoken theater and opera are two very different art forms, you can look at the dramatic rhythm in a particular way, figuring out where the important beats are before the composer spends months writing music,” says Ned Canty, who is director of the series. “It is useful for a composer to think about beats from a performance perspective, to make sense of where you need a big shift in emotion, to see the amount of time an actor needs to get from one beat to the next.”
In the Works
Megan Young, Artistic Services Manager, OPERA America ,
Opera America Magazine1/1/1900
Alexandra
By Zack Settel and Yan Muckle

Set to premiere during the 2010-2011 season at Chants Libres, Alexandra chronicles the life of Alexandra David-Néel (1868-1969). An anarchist, opera singer, journalist, freemason, feminist, free thinker, reporter, lover of the Orient, philosopher and explorer, she was the first Western woman to enter the forbidden Lhassa, Tibet in 1924. This one-hour chamber opera uses her life and writings to touch upon the themes of courage, righteousness and wisdom.
In the Works
Megan Young, Artistic Services Manager, OPERA America ,
Opera America Magazine1/1/1900
Amelia
By Daron Hagen and Gardner McFall

Commissioned by Seattle Opera, Amelia is a two-act opera based on a story by the production’s director, Stephen Wadsworth. The piece uses the theme of flight as a motif to explore the human condition and takes place during the 30-year period from 1966 to 1996. Amelia addresses such issues as man’s fascination with flight, the Daedalus/Icarus myth and the American experience in Vietnam. Workshops will begin in December 2007, and a projected premiere is set for May 2010.
VOX 2007: Showcasing American Composers
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink6/11/2007
Opera has an enormous capacity to convey the human experience. The energy of this possibility to express emotions was incredibly palpable at VOX, the annual new works showcase produced by New York City Opera (NYCO) and presented at the Skirball Center for the Performing Arts, New York University, on May 12 and 13, 2007. Each piece performed at VOX was preceded with a short video introduction consisting of interviews with the artists about their inspirations and creative processes. The weekend also included panel discussions and other presentations. More information, including 2008 application forms, can be found at nycopera.com/about/vox.
Pathways to a Premiere for Composers and Librettists
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink11/12/2007
Committed to the development of new works and creative artists, OPERA America has begun to host workshops for composers and librettists across the country. The next workshop will take place in Syracuse, NY on December 8 and 9, and will cover topics including obtaining a commission, working with singers, self-producing, the role of the publisher, self-publishing, finding creative partners and ideal projects, and much more. Below is a summary of a recent workshop that OPERA America hosted in partnership with San Francisco Opera with panelists Paul Dresher, Jake Heggie, Joan La Barbara, Gene Scheer and moderator Kip Cranna, musical administrator for San Francisco Opera.
Workshopping Your Opera
Staff Diane Wondisford, Music-Theatre Group , Ricky Ian Gordon, composer; Charles Jarden, American Opera Projects; David Schweizer, stage director
Making Connections10/28/2008
Important components of the creative process include assessment and feedback. The creative artists on this panel will discuss:
  • Innovative ways they have workshopped pieces
  • Factors to consider when planning to workshop
  • Processing evaluation and feedback
New Works Opportunities with Music Schools
Staff , Conrad Cummings, composer; Gordon Ostrowski, Manhattan School of Music;
Making Connections11/18/2008
Academic institutions can be great settings for new opera workshops and productions. This session will cover:
  • Music schools that develop adventurous programming and how they offer a unique
    experience for composers and librettists
  • Working with young musicians
  • Using the longer rehearsal periods for feedback and evaluation
How Companies Commission Opera
Staff Linda Golding, The Reservoir, Lowell Liebermann, composer; J.D. McClatchy, librettist; Peggy Monastra, G. Schirmer Inc.
Making Connections2/25/2009
Each new opera commission has a unique process and path. In this session, panelists will discuss:
  • Reasons opera companies commission new works
  • How operas and creative artists are chosen
  • Best practices for creative artists to reach opera companies
Staying Competitive
Staff ,
ArtistLink4/20/2009
Freelance artists may be more familiar with the process of job hunting than any other group of professionals. As thousands of Americans in the auto and financial industries struggle to cope with the sudden disappearance of jobs once thought of as sacrosanct, uncertain employment has been a reality for artists since, well, forever. That said, artists are far from immune to the recession as opera companies and other nonprofit arts organizations across the country are being forced to make tough decisions in an effort to balance budgets and stay operational. In this climate, it is more important than ever for artists to take a proactive approach to career development in order to be as prepared as possible for uncontrollable circumstances. Here are some ways to remain competitive through these tough times:
Learning to Work Together: Opera Companies and Academic Institutions
Staff ,
Opera America Magazine7/1/2009
In some cities, collaboration means local opera patrons experience a greater range of repertoire than they might otherwise. Opera Company of Philadelphia has developed a partnership with The Curtis Institute of Music to co-present one production each season, beginning with Golijov's Ainadamar in 2008. "We have always had a very strong relationship with Curtis," says David B. Devan, executive director of Opera Company of Philadelphia. "We learned there were certain pieces they wanted to produce for their singers, but the school didn't have the resources. It dawned on me that conservatories don't have a lot of marketing horsepower, but we were in a position to provide them with a substantially larger audience. We came up with an arrangement whereby Curtis would produce the show and we would market it as part of our season and then hand over the revenue, allowing them to pay their bills."
A Legacy of Leadership
Kelley Rourke ,
Opera America Magazine7/1/2009
Each year, OPERA America honors leaders celebrating their 10- and 25-year anniversaries with an opera company. The recipients of this year's service awards hail from companies from across North America whose annual budgets range in size from less than $1 million to more than $25 million. Some of the companies dominate the opera scene in their cities, while others are part of a vibrant local opera ecology.

Running an opera company is challenging in the best of times, and today's uncertain economy makes it extraordinarily difficult to plan the seasons ahead. But with hard-won wisdom gained from many years of experience, these artistic and general directors strike a tone of cautious optimism as they share their learning and confirm their commitment to quality and creativity.
The Importance and Value of Program Assessment
Evan Wildstein, Manager of Education and Adult Learning Programs, OPERA America ,
EducationLink7/20/2009
Education stakeholders have long been aware of how crucial evaluation is to the success of programming. In the age of testing and assessment, arts educators should know this better than most, especially when the 2008 National Assessment of Educational Progress (NAEP) in arts and music, The Nation’s Report Card: Arts 2008 Music & Visual Arts, showed marginal student achievement.
A Nationwide Celebration of Opera
Staff ,
Opera America Magazine9/1/2009
The National Endowment for the Arts Opera Honors, launched in 2008, honors visionary creators, extraordinary performers and other interpreters who have made extraordinary contributions to opera in the United States and have become cultural treasures of the nation. The 2009 recipients are John Adams, Frank Corsaro, Marilyn Horne, Lotfi Mansouri and Julius Rudel. They will he honored at an awards ceremony on November 14, 2009, in Washington, D.C.
A Learning Laboratory for Opera
Adam Gustafson ,
Opera America Magazine9/1/2009
A lot is happening as OPERA America heads into its 40th year, including a virtual facelift. A new Web site design puts OPERA America’s wealth of existing resources, along with some new additions, at the fingertips of its members in a format that is easy to navigate.
Learning from the Masters
Staff ,
Opera America Magazine9/1/2009
Four artists and a producer walk into a room… no, it's not the latest reality show. OPERA America's Making Connections is an artist development program that brings established artists together with emerging professionals to discuss the wide range of skills and experience required for successful careers in opera. In the three years since its inception, Making Connections has hosted an array of composers, librettists, singers, producers, designers and directors.
National Opera Open House: Don’t Miss This Opportunity!
Staff ,
Opera America Magazine9/1/2009
Historic property. Large central space retains many original details. Great for entertaining. Adequate storage. Bathrooms need some updating.

The open house is an important event for those on both sides of a real estate transaction. The purchaser arrives at each property wondering, "Could I be happy here?" The seller does everything possible to make sure the answer is a resounding "Yes" — from greeting visitors with a welcoming smile to filling the place with appealing art.
For the Love of the Game: Considering a Career in Opera Administration
José Rincón, Artistic Services Coordinator, OPERA America ,
Original Content9/30/2009
Most opera administrators working today probably did not enter college with the goal of working for a nonprofit arts organization someday. I know this was the case for me when I began studying voice as an undergraduate. In fact, I was unaware of arts administration as a field until, as a college senior, I was offered a chance to design some marketing materials for a production of Orpheus in the Underworld. By that point, I knew I lacked the same hunger for a performing career as some of my music school colleagues, but I'd retained my passion for opera as an art form and wanted to devote my energy to instilling the same passion in others.
U.S. Main Season Box Office Revenue Rises 11% over Five-Year Period; Ticket Gap Widens
Larry Bomback, Director of Finance and Operations, OPERA America ,
Original Content10/7/2009
Given the state of the economy, it is not surprising that the most common question asked of OPERA America staff members nowadays is some variant on: “How is the field doing?” This brief article seeks to clarify some points using data extracted from the most recent Annual Field Report, covering fiscal years 2004 through 2008.

Through the Professional Opera Survey, OPERA America has collected extensive financial and operational data on professional companies dating back more than two decades. Companies that have participated in five consecutive annual surveys comprise the Constant Sample Groups of the Annual Field Report. In the 2008 Annual Field Report, there were 63 professional companies (excluding the Metropolitan Opera) in the U.S. Constant Sample Group and 11 professional companies in the Canadian Constant Sample Group. These numbers make up approximately 55% of OPERA America professional company membership, but using a constant sample group rather than the entire field universe (which changes every year) allows for a more reliable and accurate data analysis.
The Role of the Voice Teacher in the Young Artist Program
Dr. Rebecca L. Folsom ,
Original Content11/3/2009
For singers pursuing operatic careers, young artist programs are essential to career development. The programs vary in level and length, and play a vital role in fostering a singer's talent and potential. Professional voice teachers are an integral part of the faculty/staff/training team in the young artist programs.

The voice teacher commonly addresses such issues as breath control, registration, laryngeal function, resonance adjustment and acoustical exactness, articulation of vowels, all of which promote free, efficient vocal production. Professionals also ensure that singers have proper physiological coordination within the mechanisms that produce vocal sound. As a budding mezzo-soprano commented: “What makes voice teachers a distinct and essential part of a young artist program is their vested interest in our longevity as singers, and they generally have skills to teach ways in which we can extend our vocal life by means of warm-ups and technical adjustments." The preferred role of a voice teacher is not to change an established singer's technique, particularly in a short period of time. According to one young tenor, “the primary role of a young artist program voice teacher is to combine the skills of critical listening, technical knowledge of the voice and instructive abilities to help maintain a healthy singing voice." To achieve healthy singing, teachers must decide whether to delve into technical considerations or work in a flexible manner with the singer's established method of tonal production.
Brundibar at Opera Theatre of Saint Louis: Creativity and Efficiency in Tandem
Wendall K. Harrington ,
Original Content12/3/2009
About three years ago, Steve Ryan, director of production for Opera Theatre of Saint Louis called me and asked if I would be interested in working on a new production of Brundibar for their education department. The previous production had a lot of scenery he said, and he was looking to make something that would be more portable.

I was immediately interested. For decades I have been trying to encourage the use of projections for educational theatrical use: Once created, productions can be easily remounted and require virtually no storage. When I looked at a tape of the previous production I understood the real issue with Brundibar for education was twofold. On one hand, opera companies are looking to introduce young people to the beauty of opera with the hope of instilling at least curiosity about the art form, and at the same time they are using Brundibar to teach the history of the Holocaust. Brundibar is a musical fable most famous for being played and sung by the Jewish children interned in the Terezin concentration camp. The subject matter — two children in need of money to buy milk for their sick mother, who triumph over the organ grinder Brundibar — does not neatly illuminate the struggle in the camps, but the idea of any kind of triumph must have been mighty appealing for the inmates, who also were allowed to remove their yellow stars in performance.
High School Singer Open House
Dona D. Vaughn, Manhattan School of Music and PORTopera, Sarah Heltzel, mezzo-soprano; Mark Oswald, baritone/teacher, Metropolitan Opera and Manhattan School of Music; Nathan Urbach, administrative director, Lindemann Young Artist Development Program, Metropolitan Opera
Making Connections2/24/2010
In this special session geared for the college-bound, high school singers will hear from professionals working in the opera field about career options and making the most of one's education. Parents are encouraged to attend this session to learn about supporting young artists through their careers.
Ten Ways to Get Your Students to Use the OPERA America Web Site and Love it
Laura Lee Everett, University of Maryland Opera Studio ,
Original Content3/3/2010
In working with both the Technical/Production and Singer Training Forums, I was lucky enough to be taken on a “virtual tour” of the newly updated OPERA America Web site. Twice. The second time around, I was able to take note of the moments where my colleagues’ attention seemed to wander and asked, “What do I need to point up to get everyone engaged when I take this information back to school?” Here are 10 easy ways to get your students, staff and faculty to utilize the great resources on the OPERA America Web site.
Composing Opera: A Backstage Visit to the Composer’s Workshop
Daniel Catán, Composer ,
Original Content4/14/2010
It gives me great pleasure to have the opportunity to speak with you this afternoon. The title of my presentation mentions a backstage visit to the composer’s workshop, and that is precisely where I intend to take you.

So I will start very simply; but we don’t have to start at the beginning. We will get there slowly, anyhow. I would prefer to start with Florencia en el Amazonas, my most recent opera.

Of all my three operas, this was certainly the most enjoyable one to write. From the start, which is finding a libretto to work on, it was a happy experience. But, first of all, how did I decide on the subject? How did I go about composing it? And how on earth did I get to the Amazon?
Visa Processing for Foreign Guest Artists
Amy Fitterer, OPERA America, Jonathan Ginsburg and Andi Floyd, FTM Arts Law
Original Content4/21/2010
The opera industry has recently seen delays and problems in visa processing by U.S. Citizenship and Immigration Services (USCIS), underscoring the risk that foreign guest artists will be unable to enter the country in time for their rehearsals and performances. Join us to hear from attorney Jonathan Ginsburg as he shares timely advice and best practices for assembling petitions that will increase your chances of petition approval. Ginsburg is considered one of the top immigration attorneys in the U.S. for foreign guest artists. He co-authored the Artist From Abroad Web site, and has conducted numerous presentations and training sessions across the country on visa processing.
Professional Development: The Gift that Keeps on Giving
By José Rincón, Artistic Services Manager ,
Original Content12/1/2010
The holidays are upon us and if you are wondering what to get the singer, composer, librettist, director or designer on your gift list, put down the Hickory Farms catalog and consider giving a gift that is not only thoughtful but useful, too. If you are an artist yourself, why not spend some of the cash you get from grandma on a membership or subscription to a service organization that will help you advance your career? Here are several member- or subscription-based organizations that offer an array of programs and resources for creative artists:
Compose to Win
By Miriam Piilonen ,
Original Content3/1/2011
Entering a composition competition is a great way to gain exposure, practice professional printing and possibly win a performance or grant money. Competitions are usually judged by a panel of professionals who will assess your work for style, skill, innovation and playability. Assembling a flawless application package is as important as writing a great piece of music and an important skill for composers. Here are a few things to consider when assembling your competition package:
Healthy and Creative Aging
Laura Day Giarolo, Manager of Education & Community Engagement, OPERA America ,
Original Content4/28/2011
Baby boomers are hitting retirement and a great shift in the American population is underway. By 2050, the U.S. Census Bureau has projected that older adults (ages 65 and up) will number 88.5 million; nearly one in five Americans will be over age 65 by the year 2030. While this statistic may send some of our marketing colleagues into a quiet panic over the need to develop a new and younger audience, it opens up a whole new area of arts education: creative aging and true lifelong learning.
Reading to Write: A Book List for Composers
Staff ,
Original Content6/1/2011
Composers are rarely limited by the domain of music; they are inspired by all of their senses. Writing a piece is an extension of your experiences and reflects the language you speak musically and otherwise. At OPERA America, we love using books as a tool for inspiration. We discussed literature and reference texts with industry experts and compiled a reading list for opera composers with topics in technical skills, biographies, history, business, publishing, vocal reference and a few from other art fields. As you explore these resources, take your investigation beyond the page. Interact with singers, work backstage, listen and analyze scores to form an intimate relationship with opera writing.
Tips for Assembling Your Opera Fund Application
Lyndsay Werking, Artistic Services Manager, OPERA America ,
Original Content8/4/2011
As the summer comes to an end, we at OPERA America are excited to be launching the next round of grant opportunities through The Opera Fund. This year, awards will be given in the Audience Development category for projects that focus on community engagement activities undertaken in conjunction with the creation and/or production of a new or existing American work. The deadline to submit a letter of intent is August 26. The competition for limited funds is highly competitive. In looking through past grant proposals, we have created some general guidelines to help you as you prepare your application.
Last Chance Summer Reading!: Arts Education Reading and Resources
Laura Day Giarolo, Director of Learning and Community Engagement, OPERA America ,
Original Content9/12/2011
Though summer weather is still going strong, the start of another school year is right around the corner! As you begin planning for the fall, be sure to check out these great resources for arts education:

Not in Kansas Anymore
Joyce DiDonato sounds off on the recent elimination of funding for the arts by her home state of Kansas.

Art Talk
The National Endowment for the Arts’ Art Works Blog features Art Talk interviews with prominent artists. See what Sandra Radvanovsky has to say about arts education, gain new insights from Marna Stalcup of the Right Brain Initiative and hear how early experiences with arts education made a lasting impact on NEA staff.
Tips for Composers and Librettists
Staff ,
ArtistLink9/26/2011
In this month’s ArtistLink, opera professionals who receive a great deal of score and libretto submissions offer some suggestions to composers and librettists on how to present their work for consideration.
Singers: How to Research Producing Opera Companies
Megan Young ,
Original Content10/11/2011
There are hundreds, if not thousands, of opera producers in North America. So, how do you know which are appropriate for you at your current level of career achievement? Do you send out 100 headshots and resumes and hope for the best? We think not! Do your research ahead of time to find the opportunities that are appropriate for you. You'll cut down on the volume of materials you send out and you'll be less likely to be put on the "do not hear" list. To start your research, use OPERA America’s Career Guide for Opera. Read on for a comprehensive list of qualities to examine before you choose to audition…
Blogroll for Opera Artists
Lyndsay Werking, Artistic Services Manager, OPERA America ,
Original Content10/17/2011
To succeed in opera, or in any field, an individual must possess both skills and knowledge of the industry.  Understanding the current climate of the opera industry is just as important as learning new marketing strategies or exploring fundraising opportunities. To keep informed of news, trends, projects and people, I read a variety of print and online news sources. Additionally, I follow a number of blogs. While I can learn about the facts of the industry from formal news outlets, a blog provides a specific point of view and often, a unique writing style and artistic voice. Sign in for a list of blogs that OPERA America staff is reading…
OPERA America’s Career Guide for Opera - Something for Everyone!
José Rincón ,
Original Content11/1/2011
If you think OPERA America’s Career Guide for Opera is just for singers, think again! The Career Guide for Opera is full of articles, videos and podcasts for opera artists of all types; access to this comprehensive resources starts at just $30 a year. Click through to learn about a few of the many resources you will find.
Stages of Developing a New Work
John Glover, Beth Greenberg, John Musto, Jim Schaeffer ,
Making Connections1/4/2012
The road to creating a new opera is paved with questions. Who should be on the creative team? How do you know when a work is ready for the next stage of development? When do you let the public hear it? At this session, hear from artists and administrators at the forefront of contemporary opera and gain insight into how new works are created, developed and produced.
How to be a Teaching Artist
Thomas Cabaniss, Neil Ginsberg, Amy Kirkland, Camille Zamora ,
Making Connections1/4/2012
Teaching artists educate and engage with community members through work in schools, hospitals and other social services organizations. To be successful, teaching artists must possess a wide range of business and interpersonal skills in addition to talent and artistry. At this session for all opera artists, panelists will discuss the types of opportunities available to teaching artists and how you can obtain the skills needed for success.
Singer Training and Repertoire Assignment
Brittney Redler ,
Original Content5/14/2012
In medical school, students take classes for the first two years then do rotations, during which they get to experience different specializations. This introduction to a wide variety of medical divisions is what helps students clarify where their individual talents lie. A young medical student would rarely choose their specialty in those first years to then remain in that field for his or her entire career. This is because they may have certain preferences and or talents that they simply haven't explored yet in their youth. Medicine is a huge field, so one has to explore and "date around" so to speak in order to discover the best match.

Music is similarly an overwhelmingly large subject. Even after choosing vocal performance as a major -- or even more specifically "classical" or "musical theater," a young student is facing an extremely broad range of possibilities. While training, it should be expected — just as it is for medical students — that singers explore a wide variety of music in order to develop a correspondingly varied repertoire and skill set. Learning an abundance of repertoire can introduce and develop technical skills involved in vocal production, but also certainly can build general musicianship, language and diction proficiency, and dramatic preparation and insight. The student therefore becomes familiar with many genres, styles, time periods and composers, which can only make a student a more informed performer. Perhaps a previously unknown niche in this new repertoire assortment is waiting to be discovered.
Managing in a Tough Economy: How Nonprofit Leaders and Their Organizations Are Facing the Uncertainty
Bridgestar ,
Original Content6/8/2012
These have rapidly become some of the most challenging times most of us have ever seen. Even for nonprofit leaders who are accustomed to making much of little, the repercussions of the current downturn are difficult to fathom and challenging to address.
A Composer's Cohort: Secrets of Collaboration
Miriam Piilonen ,
Original Content10/10/2013
Writing an opera is an undertaking unlike any other in a composer's repertoire. The time commitment, depth of knowledge and scope of such an ambitious project make writing an enormous challenge in and of itself. What many aspiring opera composers overlook is the test waiting beyond the solitude of the studio: collaborating with other artists involved in the production of a staged vocal work. OPERA America has gathered leading experts in the fields of composing, directing, publishing and administration to advise composers in working with everyone from singers to stage managers from the initial idea to final curtain call. Whether you are staging a small student performance with one singer and a tambourine or mounting an opening at the Metropolitan Opera, collaboration can make or break your show
An Evening with Librettist Mark Campbell
Mark Campbell, Jennifer Aylmer, Wallis Giunta, Troy Cook, Matthew Tuell, Timothy Long ,
Salon Series8/14/2014
Excerpts from Silent Night, Rappahannock County, Lucrezia, The Inspector, A Letter to East 11th Street and Songs from an Unmade Bed performed by soprano Jennifer Aylmer, mezzo-soprano Wallis Giunta, tenor Matthew Tuell, baritone Troy Cook and pianist Timothy Long.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
Info@operaamerica.orgDirections
From Airport:
The easiest way to reach the OPERA America offices is to get a cab at the airport. Cost is $40-45
(not including tip).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

From Penn Station/Madison Square Garden:
Leave the station through the 7th Avenue/33rd Street exit and walk south for four blocks. The building is on
the right hand side.

From Grand Central Station:
Take the Train to the 42nd/Times Square station and transfer to the Train.
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

From 42nd Street/Times Square:
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

For more detailed directions, most up-to-date pricing or to specify a different starting location, please visit the
MTA Web site.