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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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Related Article(s)
Original Article:
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.

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.
Pianists are Key to Auditions: Weighing Your Options
Diana Hossack ,
Voices1/1/1900
Auditions are a fact of a singer’s life, but beyond that, there are few certainties about the audition process. A singer may or may not be familiar with the audition site; has little control of the audition day, time, or the timeliness of the audition; often doesn’t know who will be sitting on the audition panel; and while the singer does select the repertoire, one is never sure which piece the panel will request. Then there are the unknown factors of what the day will bring in terms of health and nerves.
Singing the Same Tune
Matthew Shivlock ,
Voices1/1/1900
The placing of artists in opera houses can, at times, be as fraught with drama as the works enacted on stage. The relative ease of travel and the growing supply of good opera singers have created a culture of maneuverability and choice surrounding the engagement of singers. With choice comes complexity, and this complexity can result in unnecessary misunderstandings between artist managers and artistic administration.
Playing Your Part Offstage
Lisa Bury ,
Voices1/1/1900
In this article, Lisa Bury shares important advice for artists involved in donor events. Although the perspective of this article is based on events hosted by Lyric Opera of Chicago, Lisa’s practical advice is applicable to any situation in which social etiquette is of utmost importance.
Stage Manager: The Best Friend A Singer Can Have
David Grindle ,
Voices1/1/1900
When you are hired to sing at an opera company, singing your best is certainly a priority, but not your only consideration. In this volume of Voices, a series highlights expert advice on various components of working well with the company who hires you. This issue’s article looks at the relationship between you

the singer — and the stage manager.
The Singer/Coach Relationship
Staff ,
Voices1/1/1900
From the selection/engagement process to the coaching itself and beyond, what contributes to a productive coaching session?
OPERA America's Action-Oriented Think Tanks
Kelley Rourke ,
Opera America Magazine1/1/1900
OPERA America's Conference is the largest and most visible annual gathering of the opera community — but it is not the only time opera stakeholders come together. Throughout the year, OPERA America convenes meetings of industry leaders around specific topics. Although the discussions vary in size, scope and regularity, they share a common commitment — a commitment to action. Participants not only discuss challenges, they identify steps they can take, from the incremental to the profound, to advance the field.
Mezzo-Soprano
Handel, George Frideric: Alcina
Act 2: Recitative and Aria, “Disgombra il mio pensiero … Mi lusinga il dolce affetto” (Ruggiero)

Roger Pines, Dramaturg, Lyric Opera of Chicago ,
Aria Talk10/1/2005
Act 2: Recitative and Aria, “Disgombra il mio pensiero … Mi lusinga il dolce affetto” (Ruggiero)
What I Did This Summer (What Did I Do This Summer?): Your Guide to Staying Productive During the Summer
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink7/10/2007
It is the middle of July. If many of you are like me, that statement strikes a bit of despair and wonderment in your hearts and minds. "The summer is half over! What happened to all my grand plans for the summer?" I had some pretty lofty goals for myself including losing 10 pounds (always at the top of my list), boning up on my knowledge of operatic repertoire, advancing my Italian and French skills, and breaking 90 in my golf game. Unfortunately, my better judgment fails me and I opt for fried goodness rather than salad, Knocked Up rather than Fidelio, and going for the green rather than laying-up. But it's not too late! I can still achieve the things that I'd like to by setting realistic goals, creating an advanced plan, and defining the steps needed to achieve the goals I've set for myself.
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.
Creative Programming in Hard Times
Thomas May ,
Opera America Magazine7/1/2009
The majority of contemporary American opera companies sprang up after the Great Depression — which means they're now confronting the most severe economic downturn in their existence. And the performing arts are doubly vulnerable. Not only is institutional funding at risk: audiences, their very lifeblood, have also had to become more cautious about opening their wallets.
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.
Music! Words! Opera! Celebrates 20 Years
Clifford Brooks, Roger Ames ,
Opera America Magazine9/1/2009
It all began about 1980, when Marthalie Furber, newly-appointed education director of OPERA America, conducted an environmental scan to discern what was going on in opera education throughout the country. Many of us already involved in company education departments knew of "create an opera" projects in different opera companies. Exciting things were happening in such locales as the Berkshires, San Diego, Tulsa and Tucson. Carroll Reinhart, a pioneer in the field of music education, had observed the work of a colleague in San Diego and began building from a number of creative processes to develop a methodology for children to create their own pieces of musical theater. He shared this with several opera professionals, including Henry Holt. Not long afterward, he was contacted by Marthalie Furber. The discussions began in earnest.
Check-Up: Health-Care Reform Proposals and the Opera Field
Staff Amy Fitterer, Patricia Read, Derek Davis, David Bennett
Original Content10/13/2009
OPERA America Webinar Series
Virtual Meeting Attendance: Not Present, But Still Here
BoardSource ,
Original Content10/13/2009

In an ideal board meeting, all members are present and engaged in a structured and vigorous debate of the issues on the agenda. The chair leads the discussion, fine-tuned to the overall mood of the board, and ensures everyone's participation. During planned breaks, chatter fills the boardroom, and when the meeting is over, some members hurry out with their carry-ons in tow while others linger to talk to the chief executive and their board colleagues.

In reality, few board meetings are that perfect. For example, at times, even the most committed members are not able to attend every meeting. This is unfortunate because not only do they miss the meeting but the rest of the board misses their contribution.
Recent Trends in Program Coverage, Artistic Expenses and Individual Giving
Larry Bomback, Director of Finance and Operations, OPERA America ,
Original Content10/29/2009
Over the past 10 years, professional opera company budgets in the U.S. grew annually, on average, at a rate that was about two to two-and-a-half times the U.S. consumer price index (CPI). During consultations with board members and general directors, OPERA America President and CEO Marc A. Scorca referred to this percentage as the Opera Price Index (OPI). Core artistic expenses (the sum of artistic personnel, technical/production personnel and production costs) are an important element of this "opera-flation."
Board Members and Personal Contributions
BoardSource ,
Original Content11/5/2009
Many boards spend considerable time defining the board's role in securing adequate resources for the organization. Personal financial contribution should be an essential part of that discussion. Each board should determine its own personal giving policy. For fundraising boards, the target should be to reach 100 percent board member participation.

Why should board members give?
Board members of most charitable organizations are expected to participate in fundraising. The board is responsible for providing a sound financial basis for the organization and by personally contributing, a board member recognizes this responsibility and demonstrates a commitment. A fundraising appeal is particularly convincing if a board member uses him or herself as an exemplary donor. Many foundations only contribute to organizations where every board member is a contributor. And surveys show that nearly 90 percent of American households contribute to charities. Each board member should designate his or her own organization as one of the main recipients of his or her generosity.
Social Networking in the Life of an Opera Artist
Staff Patricia Kiernan Johnson, marketing and media manager, OPERA America, Amanda Ameer, First Chair Promotions; Brian Dickie, general director, Chicago Opera Theater; Erik Gensler, president, Capacity Interactive Inc.
Making Connections11/18/2009
Social networking, including Web sites such as Facebook and Twitter, has become part of daily life for many people. Panelists at this session will talk about the pros and cons of an online presence and discuss the delicate balance between personal and professional networking.
Good Habits Underpin Great Fundraising Boards
Jerold Panas ,
Original Content1/6/2010
In this interview, Jerold Panas discusses the traits of successful fundraising boards.

What led you to the topic of fundraising habits?

I work with organizations all over the country, of all sizes, of all types. From YMCAs to colleges to hospitals — and many in between. The budgets range from $1 million a year to $2.6 billion.

And what I've noticed is a common thread woven through each. When an organization is vital, providing outstanding service, and balancing its budget — I find a board that practices very specific habits. Particularly fundraising habits.

How many boards would you say you've worked with?

Keep in mind, I've been at this a long time! I suppose in my 40 years of consulting, I've actively worked with somewhere between 300 to 400 boards.

And roughly how many have had a majority of the habits you write about?

Most boards practice a good number of them. Only a few can claim them all. One thing if for sure — it's easy to spot boards that don't have these habits. They stumble along.
Art and Fame: A Perspective of an Artist as a Young Man
Robert Hansen, executive director, National Opera Association ,
Original Content2/4/2010
When I was something less than two years old, certainly too young to have any real memory of it, I was photographed sitting in the middle of the dining room table wearing nothing but an over-sized and very glamorous hat. I don’t think the photo was posed: I’m sure I donned that hat myself, and from the expression on my face, I’m equally sure I expected to be noticed.

That must have been the earliest expression of my fantasy of fame and celebrity. I began my stage career at the age of five as the little prince in The King and I who crawls between the king’s legs. I relished that moment: the most special of all those child actors who comprised the royal family. Without belaboring the point, I continued performing all through my school years. I was sought after. I sang and performed everywhere and all the time, turning up as a regular in community and school projects, and even one professional program. One kind reviewer called me “everybody’s tenor” and a local philanthropist and arts supporter praised my “multi-faceted talents.” These are words of praise and encouragement that resonate in the formative years. I took the affirmation as a promise of future success. I watched the Academy Awards and Tony shows religiously, fantasizing about the day I would cross the stage to claim my own recognition.
Planned Giving Strategies
Larry Bomback, Thomas Bonhag, Robert Heuer , Larry Bomback, Thomas Bonhag, Robert Heuer
Original Content2/16/2010
A common concern among donors is how assets will be distributed when they can no longer oversee the process. As a donor, how can you best invest money to reap the benefits during your life, but still ensure a lasting and positive impact? As a development director, how do you broach this delicate subject well-informed and effectively? This session, featuring Thomas Bonhag, a Certified Financial Planner from National Madison Group and a member of the Partnership for Philanthropic Planning, will help guide you through the complex financial instruments available, and look at investing via life insurance policies. Robert Heuer, general director of Florida Grand Opera, will also participate.
Nonprofits and Copyrights: What You Need to Know
Kate Spelman, attorney, Cobalt LLP ,
Original Content2/23/2010
There are two things to worry about with copyrights: protecting original material that your organization has created, and making sure that your organization isn't improperly using material that someone else owns. Blue Avocado asked copyright attorney Kate Spelman to help with these issues, and she generously gave all her expertise and time.

Kate Spelman is an attorney at Cobalt LLP in Berkeley, CA, with a national and international practice in copyright law. She has worked for Fortune 500 companies, as well as many nonprofits. She is a board member of the American Intellectual Property Law Education Foundation.
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.
Taxing Foreign Artists
Robyn Guilliams, FTM Arts Law attorney, Larry Bomback, Director of Finance, OPERA America, Amy Fitterer, Director of Government Affairs, OPERA America , Robyn Guilliams, FTM Arts Law attorney, Larry Bomback, Director of Finance, OPERA America, Amy Fitterer, Director of Government Affairs, OPERA America
Original Content3/17/2010
Visiting artists bring a sometimes unique perspective to your stage, and equally unique issues to your tax returns. Pretty much anyone who performs in the US gets taxed, but the simplicity ends there. What compensation is subject to withholding? Can artists without a Social Security Number be paid? Answers to those questions, and any others you may have particular to your situation, in this discussion with FTM Arts Law attorney and tax-withholding expert Robyn Guilliams, co-author of Artists From Abroad.
Fundraising for Independent Artists
Beryl B. Byles, executive coach, Dianne Debicella, program director, fiscal sponsorship, Fractured Atlas; Eve Gigliotti, mezzo-soprano; Anne Ricci, general managing diva, Opera on Tap
Making Connections3/24/2010
Many, if not most, independent artists will have to raise funds during their careers - to produce a piece, attend a training program or simply to continue study. Panelists at this session will discuss their experiences, tips and strategies for cultivating donor relationships and raising funds.
Teen Audiences and Education Programs
Evan Wildstein, Manager of Education and Adult Learning Programs, OPERA America ,
Original Content4/6/2010
The most recent Opera Education Survey Report (2008) reported that opera companies are devoting less time and resources to teen audiences. This survey found that grades 6-8 represented 5% of education audiences, while grades 9-12 comprised 8%. In 2006, the survey found the same audiences were 12% and 9%, respectively. There is consensus in the field that it is a challenge to reach teen audiences for many reasons. "In general," says Fort Worth Opera Education Director Clyde Berry, "teens are the trickiest audience because you have to justify why anything you want them to know is important. If you can't make it relevant to them with real-world connections, then they're not going to 'buy' it."
Tenets to Raise Money By
Certain factors are irrefutable, says philanthropy's grandmaster

Jerold Panas ,
Original Content4/8/2010
For my book, Mega Gifts: Who Gives Them, Who Gets Them, I spoke with more than 50 men and women who had made gifts of $1 million or more. I also collected data from more than a thousand fundraising professionals.

As for me, I bring over 40 years to this magnificent business of helping others undertake consequential acts of kindness and generosity.

What I’ve discovered is that there are clearly factors and forces that motivate large gifts. The proof is irrefutable. There is more commonality in the factors than there are differences. And as extraordinarily unique as people are, the drive and consideration that propels them to a major gift is very much the same.

During the preparation of Mega Gifts I combined all I’d learned from my donors and all I could read on the subject. I mixed this generously and openly with my own feelings and attitudes.

What have evolved are 62 factors that I’m convinced guide, shape and determine the success of securing the mega gifts. Here I’ll share a random seven with you.
What Makes a Great Board?
Expert shares his insights

Andy Robinson ,
Original Content4/8/2010
Andy Robinson is the author of Great Boards for Small Groups and its companion book, Big Gifts for Small Groups. We recently sat down with Robinson to discuss various aspects of nonprofit boards.

What makes a great board, in your opinion?

Robinson: Just what you’d expect; a list of qualifications that’s easy to understand but can be hard to find. Passion for the mission, clear expectations and clearly defined roles, a sense of camaraderie and enough time to do the job right. It also helps to have a bit of flexibility, humor and humility.

So why aren’t there more great boards?

Robinson: The word “great” implies ambition, so the goal is inherently difficult. Faced with the challenge if building a strong board, most organizations move in the wrong directions: they fear that the truth will scare away prospective candidates, so they “low-ball” their expectations. Unfortunately, if people can’t meet your board requirements, you’d rather find out before you invite them — and not after they’ve joined the board.
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.
Building and Managing Your Network
Charles Jarden, executive director, American Opera Projects; Laura Brooks Rice, Westminster Choir College and CoOPERAtive Program; Leah Wool, mezzo-soprano ,
Making Connections5/26/2010
To be successful, opera artists must accumulate a staggering amount of knowledge and skills. Those who attempt to meet so many demands alone, particularly given the transient lifestyle of an opera career, will quickly find themselves overwhelmed. This session will cover the need for advisors, identifying appropriate team players, communicating your goals to your supporters and managing this dynamic group through your own personal and professional growth.
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:
Keys to a Successful Singer/Conductor Relationship
Neal Goren, Gotham Chamber Opera; Erie Mills, soprano; Steven Osgood, conductor ,
Making Connections1/26/2011
An established conductor can be a major ally in the advancement of a singer’s career, but the success of this relationship relies on trust, respect and a lot of preparation. Learn how to make the singer/conductor relationship a mutually beneficial one from this session’s panel of distinguished artists.
Ten Ways to Use the OPERA America Website Today
Jose Rincon, Artistic Services Manager, OPERA America ,
Original Content2/1/2011
OPERA America members have a wide range of services at their fingertips via the OPERA America website. Our web-based resources are designed to help both artists and administrators learn about opera as an art form and as an industry.
The Art of Entrepreneurship and Education
by Laura Day Giarolo, Manager of Education & Community Engagement, OPERA America ,
Original Content4/4/2011
Next month, leaders from across the opera industry will gather for the annual opera conference in Boston — Opera Entrepreneurship: Building on Tradition — which will feature many opportunities to reexamine the way in which we approach our work.

The word entrepreneur is nothing to shy away from: though it's often included alongside business jargon like ROI and time-value of money, it can just as easily be aligned with arts education buzzwords like creativity and innovation. Successful entrepreneurs are able to identify a wish, want or desire held by a certain population and find a unique and creative way to make that wish come true.
The Nuts, Bolts and Secrets of Covering
Katherine Drago, mezzo-soprano ,
Making Connections4/20/2011
Working for an opera company as a cover is a great way to begin building a reputation in the industry as a talented artist and dependable colleague. This interactive seminar will teach you the essential dos and don’ts of covering, as well as techniques for notating and reviewing blocking, how to conduct yourself during rehearsals and more.
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.
Collegiate Collaboration
Brooke Feldman, Artistic Services Intern, OPERA America ,
Original Content7/11/2011
As a stage management student at Syracuse University, one of the first things I learned was that performing arts production is a collaborative process. Every class that I took, from basic rehearsal techniques to budgeting, steered back to the concept of collaboration. I was fortunate enough to stage manage productions across a spectrum of genres during my time at school, but it was through my work with Syracuse’s opera workshop that I learned the true meaning of collaboration.
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.
DIY Professional Development
Laura Day Giarolo, Director of Learning & Community Engagement, OPERA America ,
Original Content8/4/2011

Conferences and informal conversations alike provide opportunities for professionals to learn from and share with one another, building on the strength of their shared experiences. OPERA America provides several opportunities for mentors, mentees and peer groups to reconnect through in-person Forums, online chats and listserv conversations, and other arts organizations and arts service organizations offer similar services. Weekly or monthly e-newsletters (like OperaLink) have been known to spark conversations around the water cooler, but many of the more recent transformations in do-it-yourself professional development (DIYPD) have come through the blogosphere and through social and professional networking sites.

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…
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.
Stress Management for Opera Artists
Robin Rigby, stress management consultant ,
Making Connections12/15/2011
Stress is often unavoidable, especially in the competitive and grueling world of opera. Fortunately, there are proven methods of reducing and managing stress and the factors that cause it. At this session you will learn how to effectively deal with stress so that you can stay healthy, productive and achieve your goals as an artist.
How to Talk About Finances So Non-Financial Folks Will Listen
Bridgestar Staff ,
Original Content12/22/2011
Nonprofit staff members almost universally understand the importance of achieving the mission of the organization and are trained in delivering direct services such as feeding the hungry, educating low-income children, or advocating for a more sustainable environment. However, many of these individuals, while highly skilled in a particular program area, do not have a lot of training and experience in working with financial data. Understandably, when prioritizing their work, nonprofit line managers will often choose to spend their time feeding the hungry over examining numbers on a departmental budget spreadsheet.
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.
Evaluation and Assessment: Beyond Anecdotal Evidence
Laura Day Giarolo, Director of Learning & Community Engagement, OPERA America ,
Original Content3/5/2012
Once a month, OPERA America staff members gather to discuss reports and publications that we’ve recently read. At our most recent Journal Club, one colleague reported on The Arts and Human Development: Framing a National Research Agenda for the Arts, Lifelong Learning, and Individual Well-Being, released fall 2011 by the National Endowment for the Arts (NEA) and the U.S. Department of Health and Human Services. While the report’s purpose was to outline areas of arts participation ripe for future research, one of the studies cited, The Creativity and Aging Study: The Impact of Professionally Conducted Cultural Programs on Older Adults, found that older adults who participated in arts activities "reported higher overall physical health, fewer doctor visits, less medication use, fewer instances of falls and fewer health problems when compared to the comparison group. The intervention group also evidenced better morale and less loneliness than the comparison group. Similarly, [those participating in arts activities]… reported a trend toward increased activity." To which OPERA America staff members said, "Well, duh!"
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.
Measuring Brand Personality: Why Customer Service, Social Marketing and Brandmaking are Becoming the Same Thing
Patricia Martin, Culture Scout Blog ,
Original Content4/17/2012
Everything communicates. Everything. What our brands do, say, show, process or sell. My colleague, Nancy Goldstein, is a brand strategist who is especially passionate about this. And she's right.

Lately, I've been studying the best behaviors of social brands. That's why this infographic caught my eye. It reveals interesting insights into customer service and social commerce.
An Excellence Manifesto for the Digital Age
Douglas McLennan, ArtsJournal ,
Original Content6/22/2012
  1. Excellence is Meaningless

Excellence doesn’t stand out when everything is excellent. In a world where “all the women are strong, all the men are good looking and all the children are above average,” being good looking, strong and above average won’t get you noticed. We perceive excellence when it stands out from the things around it. When everything is excellent then excellence is average. It’s in our nature to want more, to want different. Most declarations of excellence aren’t about excellence at all; they’re about positioning. In the digital age, when ideas and bits and bytes are cheap and endlessly reproducible, excellence is a mutable concept.

Spring 2014 Magazine Issue
  • From Gold Rush to Google
  • Before, After and During Opera Conference 2014
  • OPERA America's New Works Forum Expands and Explores
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