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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.
National Opera Week 2014
Administrator/Trustee Resources & Archives
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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
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
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.
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
Sale of New York City Opera's Remaining Assets Expected in Early 2015
By Brian WiseOperavore (WQXR)Wednesday, November 26, 2014
A sale of New York City Opera's remaining assets is expected take place as soon as January, after a bankruptcy court told the company it has until Dec. 18 to present a reorganization plan.
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.
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Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


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