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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:
New Membership Structure Brings Surprises
Mark Athitakis, Senior Editor, Associations Now ,
Original Content6/8/2012
An upbeat outlook on life isn't supposed to go out of style, but by early 2010 Optimist International (OI) recognized it was having a hard time attracting younger members.

Related Article(s):
The Philadelphia Project: Audience Development in a Lively Opera Ecology
Staff ,
Opera America Magazine1/1/1900
An array of cultural attractions is part of the appeal of living in a major metropolitan area. City dwellers typically have their choice of several theater companies, as well as multiple museums and galleries. Until recently, however, most cities have been served by a single opera company. This is beginning to change: Across the country, the lone local opera provider increasingly has company. New opera companies are springing up on a regular basis, allowing the opera-hungry — or the opera-curious — new ways to encounter the art form, often sharply differentiated from those offered by the establishment company.
Summer Festivals: Finding a Way to Shine During the Dark Months
Kelley Rourke ,
Opera America Magazine1/1/1900
Summer opera festivals have a special allure for the cultural tourist — people travel hundreds, even thousands, of miles to see three or four performances in as many days. While an out-of-town audience is a source of justifiable pride, local support remains essential. With their brief mainstage seasons — eight weeks at most — how do these companies remain part of the fabric of the community during the long "dark" months?
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.
A Foot in the Door
Megan Young, Artistic Services Manager, OPERA America ,
ArtistLink2/12/2007
It seems fair to say that everyone in the opera world is aware of the existence of young artist programs -- the training grounds for tomorrow’s operatic power players. But many people don’t realize that apprentice programs are not just for the people who want to be on stage. A wealth of training opportunities are available for those who want to learn what it’s like behind the scenes in the areas of administration, coaching, conducting, and technical/production.
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.
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.
Personnel Reflections
Larry Bomback, Director of Finance and Operations, OPERA America ,
Original Content12/7/2009
In response to member requests for more data assessment, OPERA America has embarked on a series of brief analyses derived from the Professional Opera Survey that companies complete each year.

The Surveys reveal that while total budgets among a constant sample group of U.S. Companies rose by 47% since the start of the new millennium, expenses allocated to support staff responsible for revenue generation have increased even faster. Marketing personnel costs have risen 82% since FY2000, and development personnel costs have risen 70% over that same time. (Looking at only the percentage gains does not tell the whole story, since technical and production personnel costs increase in one year the amount that marketing personnel costs rise over a decade.)
Highlights of the 2008 Annual Field Report
Larry Bomback, Director of Finance and Operations, OPERA America ,
Original Content1/13/2010
OPERA America’s Annual Field Report (AFR) is based on the Professional Opera Survey, which member companies complete each year by submitting details of their annual financial, performance and attendance activity. Formerly a stand-alone document, the 2008 Annual Field Report was included within OPERA America’s new Year in Review publication, released this past fall. Individual members can access a full-color PDF of the Year in Review by clicking here.

Forty-two of the 74 companies in the Constant Sample Group (CSG) reported a surplus for the year. In FY08, the median revenue and expense among the 74 companies was nearly $2.6 million, while the average company budget size was over $7.2 million. Total individual contributions — including unrestricted, temporarily and permanently restricted — grew 12% from 2007 to 2008.

Total North American productions rose to their highest levels in FY08 compared with the previous four seasons. However, companies, on average, reported a 4% year-over-year decrease in total seats available and a 2.5% year-over-year decline in total attendance.
History of the Cultural Data Project / Professional Opera Survey Collaboration
Larry Bomback, Director of Finance & Operations, OPERA America ,
Original Content2/10/2010
In August 2008, OPERA America staff met with Marian Godfrey and Neville Vakharia of Pew Charitable Trusts to discuss the possibility of OPERA America integrating its Professional Opera Survey (POS) with the Cultural Data Project (CDP). OPERA America had already been planning to turn the Professional Opera Survey into an online form, and consultants Cool Spring Analytics had referred OPERA America to CDP to see if there was mutual benefit. After seeing a demonstration of how the CDP collects information and generates useful reports instantaneously, OPERA America staff left the meeting impressed and excited about a potential collaboration.

OPERA America staff convened a small committee of finance network representatives to gauge their interest in and enthusiasm for such a collaboration. The committee included a few representatives from companies in Pennsylvania and California, where CDP had already established a presence in the state, and they were particularly supportive of a joint form. Other representatives, including those from New York City Opera and Boston Lyric Opera, were already aware that CDP would soon have a presence in their states and saw the inevitability, if not the necessity, of an integrated data collection system.
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.
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.
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%.
CFOs Delve into Business Planning
Bridgestar ,
Original Content5/29/2012
The members of Bridgestar's New York Nonprofit CFO Networking Group, which comprises more than a dozen nonprofit chief financial officers (CFOs), held a wide-ranging discussion about many facets of business planning at one of their monthly meetings. Jon Huggett, then a partner at The Bridgespan Group, set the framework for the discussion by giving an overview of business planning, and then presenting a case study of the business planning process that the Association for the Advancement of Mexican Americans (AAMA) went through and the ensuing decisions the organization made1. This was followed by a lively question and answer session that touched on everything from helpful planning tools to the wrenching decisions that have to be made when a popular program is no longer financially viable. The following highlights from the discussion offer valuable insights from both Huggett and from practitioners in the field. Aside from Jon Huggett, participants are identified only by their initials. 
New Membership Structure Brings Surprises
Mark Athitakis, Senior Editor, Associations Now ,
Original Content6/8/2012
An upbeat outlook on life isn't supposed to go out of style, but by early 2010 Optimist International (OI) recognized it was having a hard time attracting younger members.
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.

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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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).
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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
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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.