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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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About the Archives
OPERA America’s comprehensive Archive, containing hundreds of articles, podcasts and videos, is a rich resource of information for artists, company staff and opera patrons alike.

The Archive contains articles from 1999 to the present, covering topics like fundraising, health, marketing, new works, performance skills, mentoring and finance, written by OPERA America staff and outside industry experts.

Podcasts and videos in the Archive provide invaluable access to OPERA America events such as the Annual Conference and Making Connections.

Full access to the Archive content is available only to OPERA America members. If you are not a member, please view the membership page to learn more.
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From the Archives Popular Administrative/Trustee Resources
Board Members and Personal Contributions
BoardSource
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.
Advocacy & Public Policy Update
About OPERA America's Advocacy Efforts Latest News & Alerts
OPERA America represents the interests of the opera community before Congress, the White House and federal agencies. As a founding member of the Performing Arts Alliance, OPERA America works with the performing arts field to advocate for the development of national policies that recognize and strengthen the contributions that the arts make to America.

For more information on OPERA America’s advocacy activities, please contact OPERA America’s Government Affairs Office at 202-375-7523.
#Opera in 140 characters
Friday, April 18, 2014
Latest Video & Audio Additions
Visa Processing for Foreign Guest Artists
Jonathan Ginsburg and Andi Floyd, FTM Arts Law
Fundraising for Independent Artists
Dianne Debicella, program director, fiscal sponsorship, Fractured Atlas; Eve Gigliotti, mezzo-soprano; Anne Ricci, general managing diva, Opera on Tap
Taxing Foreign Artists
Robyn Guilliams, FTM Arts Law attorney, Larry Bomback, Director of Finance, OPERA America, Amy Fitterer, Director of Government Affairs, OPERA America
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Current Headlines
At Washington National Opera, 20-minute operas are on the right track
By Anne MidgetteThe Washington PostMonday, November 24, 2014
The Washington National Opera’s American Opera Initiative commissions work from young composers. This is a good thing. I am not completely ready to embrace its premise that the best way to start is by commissioning 20-minute operas, because I’m not sure exactly what writing a short-form piece proves about a composer’s ability to write an evening-length work — any more than short-story writers are all necessarily great novelists. But thanks to this program, the company is giving out four commissions every year — three 20-minute operas and a one-hour opera — and that alone is cause for celebration.
Jake Heggie's golden moment for 'Great Scott'
By Janelle GelfandCincinnati.comMonday, November 24, 2014
It's crunch time for Jake Heggie. The composer of "Dead Man Walking," "Moby-Dick" and "The End of the Affair" is in town for a workshop with the creative team of his latest opera "Great Scott. This is the golden moment where, instead of just hearing it in my head, I get to hear it coming off the page," says the 53-year-old American composer, over coffee last week at the Netherland Hilton, Downtown.
Unpaid Artists, and All the Ways They Can Stay That Way
By Jenna DouglasSchmoperaMonday, November 24, 2014
I came across two separate articles the other day, on the topic of artists working without pay. The first was this open letter to Oprah, written by Revolva, a professional hula hoop act and vaudeville performer. Apparently, Oprah’s The Life You Want Weekend tour invited Revolva to work for their San Jose stop earlier this month. The catch: she’d be working for free.
Smartphone App, Tweet Seats Add Interactivity to Philadelphia Concert Halls
By David Patrick StearnsOperavoreFriday, November 21, 2014
The technological barbarians are at the gate – and are being welcomed graciously. Only three years after an errant ringtone during the New York Philharmonic’s performance of Mahler’s Ninth Symphony sparked an international uproar, two august Philadelphia institutions are telling audiences to keep their phones on – within particular limits.
Joyful Opera Performed In Nazi Concentration Camp Revived In Chicago
By Cheryl CoreyNPRThursday, November 20, 2014
Brundibár, a children's opera that premiered during World War II, became both a symbol of hope and resistance and a Nazi propaganda tool. Now, Petite Opera, a small company in suburban Chicago, is reprising the opera, originally performed by Jewish children held in a concentration camp in occupied Czechoslovakia.
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Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


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