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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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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%.

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
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The building is on the same block as the train stop.

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