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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:
Public Value and the Bottom Line
Brandon Gryde, Director of Government Affairs, Dance/USA and OPERA America ,
Original Content
We like to compartmentalize our lives. It makes things easier. We have different groups of friends; work life, social life and family life rarely converge. In the realm of arts advocacy, we separate issues of funding for the National Endowment for the Arts (NEA) and charitable deductions, among other issues.

However, support for the arts through NEA appropriations and through private contributions face challenging times. The arguments against supporting funding for the arts and against the charitable deduction (the incentive that allows those who itemize to deduct a portion of their contributions from taxes owed) are related: The benefits of both the government spending and the government subsidy are reaped by only the few, wealthy individuals who already have access to the arts.

Related Article(s):
Arts Advocacy: Four Easy Steps
Haley Gordon, Director of Government Affairs, OPERA America ,
Opera America Magazine1/1/1900
Hundreds of arts advocates traveled to Washington, D.C. at the end of March to lobby Congress to support federal policies that would benefit the arts. As part of Arts Advocacy Day 2008, OPERA America members expressed their concerns in House and Senate offices about the President’s FY09 budget request, which proposes significant cuts to arts and cultural programs. They also described the multitude of issues that affect the opera field — from federal funding and visa processing for foreign guests artists to international cultural exchange and charitable giving incentives.
Highlights from the 2007 Annual Field Report
Larry Bomback and Anthony Cekay ,
Opera America Magazine1/1/1900
OPERA America's Annual Field Report (AFR) is based on the Professional Opera Survey (POS) that member opera companies complete each year, submitting details of their annual financial, performance and attendance activity. The 2007 AFR covers the fiscal year that ended during calendar year 2007, and includes data reaching back to 2003, summarizing key facts and trends in the United States and Canada.
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.
Reading the Blueprint: Educators Debate Proposed Reforms
By Laura Varlas, Association for Supervision and Curriculum Development ,
Original Content10/1/2010
Nine years after the No Child Left Behind Act (NCLB) garnered bipartisan support in Congress, the legislation officially known as the Elementary and Secondary Education Act (ESEA) is up for reauthorization. For many educators frustrated with how NCLB reshaped the classroom experience, this has been a long wait.

In March, with the release of the Obama administration's road map for revamping ESEA, A Blueprint for Reform: The Reauthorization of the Elementary and Secondary School Act (the blueprint), the U.S. Department of Education outlined its proposal for overhauling the law.
Take Action to Support Arts Education
By Laura Day Giarolo and Brandon Gryde ,
Original Content3/1/2011
The continuing resolution passed by the House last Tuesday avoids a government shutdown and gives lawmakers two weeks to come to terms on a budget agreement for the remainder of the current fiscal year, which lasts through September 30. This resolution cuts $4 billion in domestic spending, including the U.S. Department of Education-funded Arts in Education program (currently funded at $40 million), which supports newly emerging education models in high-poverty schools that improve arts learning. The loss of this program could result in the elimination of funding for more than 200 multi-year projects.
Interview: George Steel of New York City Opera
Marc A. Scorca, President & CEO, OPERA America ,
Original Content4/18/2011
OPERA America’s Marc A. Scorca interviewed George Steel, New York City Opera General Manager and Artistic Director on April 12, 2011 about recent press, the 2011-2012 season and union negotiations.
Storytelling and Advocacy
Brandon Gryde, Director of Government Affairs, Dance/USA and OPERA America ,
Original Content6/7/2011
"What was your very first arts experience?"

This was the first question I received when I interviewed for the position of government affairs director. It's a softball question that allowed me to easily shift into storytelling mode. Yet it's also an impactful question because my first arts experience was also the first step that led to a life of arts participation as an audience member, a performer, an arts education director, as well as my current position with Dance/USA and OPERA America. My exposure to arts as a child increased my desire to want to learn more.
Engaging a Diverse Community
Laura Day Giarolo, Director of Learning & Community Engagement, and Alexa B. Antopol, Research & Reference Librarian ,
Original Content10/17/2011
The title of a pre-conference seminar from Opera Conference 2011 was especially relevant last week as three different reports and announcements stimulated much thinking about how opera companies — and all performing arts organizations — can do a better job of engaging a diverse community.

National Public Radio's Deceptive Cadence blog posted about two notable mentions of opera in the New York Times: an incidental (and unflattering) reference in a restaurant review and a front page article about the success of the Metropolitan Opera's fundraising efforts last year. In "Is Opera Stuff (Only) Rich People Like?", Anastasia Tsioulcas used the language of the Occupy Wall Street protests to ask readers about opera's status as an elitist art form. Twenty-four hours later, Tsioulcas knew the answer to her question was a resounding NO: Opera is for the 99%.
Public Value and the Bottom Line
Brandon Gryde, Director of Government Affairs, Dance/USA and OPERA America ,
Original Content11/29/2011
We like to compartmentalize our lives. It makes things easier. We have different groups of friends; work life, social life and family life rarely converge. In the realm of arts advocacy, we separate issues of funding for the National Endowment for the Arts (NEA) and charitable deductions, among other issues.

However, support for the arts through NEA appropriations and through private contributions face challenging times. The arguments against supporting funding for the arts and against the charitable deduction (the incentive that allows those who itemize to deduct a portion of their contributions from taxes owed) are related: The benefits of both the government spending and the government subsidy are reaped by only the few, wealthy individuals who already have access to the arts.
Opera Advocacy: Not Just About Appropriation
Brandon Gryde, Director of Government Affairs, Dance/USA and OPERA America ,
Original Content1/24/2012
By now, most in the performing arts community have learned that the National Endowment for the Arts (NEA) received yet another cut for FY12. With the final funding amount at $145.979 million, the NEA has almost $9 million less this year on top of the $12 million cut in FY11.

These cuts were already reflected in the first round of Art Works grant allocations (in both the number and size of grants) and also in the change in FY13 guidelines with the elimination of consortium grants.

While funding for the NEA has been a flagship issue for the arts community and advocates, it’s important to know that this is not the only issue that the performing arts face in 2012. OPERA America represents the opera community in a wide array of issues — some that may be very familiar, and others that may be completely new.
The Blind Leap of Leadership
Laura Day Giarolo, Director of Learning and Community Engagement, OPERA America ,
Original Content1/24/2012
"I need you to jump off a cliff."
— President Josiah Bartlett, "The West Wing," Season 6, episode 3 ("Third Day Story")

It's not exactly the warmest, most enthusiastic job offer ever; yet, in many ways, assuming a position of leadership requires a leap of faith. Whether an individual is a new CEO or it is his or her first time supervising staff, being an effective leader requires a delicate blend of personal know-how and interpersonal skills.
Totally Non-Non-Non-Partisan Dude!
Brandon Gryde, Director of Government Affairs, OPERA America ,
Original Content4/4/2012
Believe me — I completely understand. I, too, have friends on Facebook who continue to post political memes. These posts beget even more ridiculous comments from their friends, ones that make online super contributors sound intelligent. The comments can rile you so much that you believe yourself to be the only person capable of setting these individuals straight.

But before you add your obviously rational voice to the discussion and inform your friends-of-friends of their comment's inaccuracies, PLEASE MAKE SURE THAT YOU'RE NOT POSTING TO YOUR OPERA COMPANY'S FACEBOOK ACCOUNT.

During an election year, emotions run high; candidates from both parties, eager to increase their media exposure, tend to make extreme statements. This makes it even easier to get caught up on the fracas.

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.