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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:
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 Connections
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.

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.
Working with Public Relations Departments: Building the Relationship and Providing the Right Materials
Greg Parry ,
Voices1/1/1900
One important aspect that you should consider when you start a new job is your relationship with that person who are dealing with him or her. There are three things the public relations department will need from you. The first two, a head shot and a bio, are pretty standard and are probably part of your contract. The third, which is mostly in your hands, is your good will and cooperation.
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.
In Pursuit of the Perfect Press Packet
Mary Lou Falcone ,
Audition Connection1/1/1900
As a publicist, it’s my job to promote my clients and keep their best interests in mind. But not every singer has a publicist around to help them with such things! To get the most out of your singing career in its early stages, putting your own press kit together is a great (and necessary) way to promote what you have to offer. Here are some helpful tips for preparing your press materials.
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?
Making Connections on the Web
Megan Young, Artistic Services Manager, OPERA America ,
ArtistLink10/13/2008
We live in a truly exciting time. More arts organizations than ever are using Web 2.0 technologies, including open source software, to engage and develop their audiences and employees. Diana Hossack aptly chronicled this excitement in her February 2008 ArtistLink feature.
Public Speaking
Staff , Marc A. Scorca
Making Connections1/27/2009
Public speaking is a craft that is invaluable to all professionals. This session will address:
  • Overcoming anxiety
  • Discussing your work in a clear, articulate manner
  • Speaking extemporaneously
Marketing and Media
Staff Patricia Kiernan Johnson, OPERA America, Sean Bickerton, Kulture Shock Media; Kristin Cowdin, Guy Barzilay Artists;
Making Connections3/24/2009
You have worked hard to perfect your craft, but are your promotional materials doing you justice? This session will cover:
  • Headshots and other photos
  • Creating engaging Web sites
  • Managing your Web image
Staying Competitive
Staff ,
ArtistLink4/20/2009
Freelance artists may be more familiar with the process of job hunting than any other group of professionals. As thousands of Americans in the auto and financial industries struggle to cope with the sudden disappearance of jobs once thought of as sacrosanct, uncertain employment has been a reality for artists since, well, forever. That said, artists are far from immune to the recession as opera companies and other nonprofit arts organizations across the country are being forced to make tough decisions in an effort to balance budgets and stay operational. In this climate, it is more important than ever for artists to take a proactive approach to career development in order to be as prepared as possible for uncontrollable circumstances. Here are some ways to remain competitive through these tough times:
Learning from the Masters
Staff ,
Opera America Magazine9/1/2009
Four artists and a producer walk into a room… no, it's not the latest reality show. OPERA America's Making Connections is an artist development program that brings established artists together with emerging professionals to discuss the wide range of skills and experience required for successful careers in opera. In the three years since its inception, Making Connections has hosted an array of composers, librettists, singers, producers, designers and directors.
National Opera Open House: Don’t Miss This Opportunity!
Staff ,
Opera America Magazine9/1/2009
Historic property. Large central space retains many original details. Great for entertaining. Adequate storage. Bathrooms need some updating.

The open house is an important event for those on both sides of a real estate transaction. The purchaser arrives at each property wondering, "Could I be happy here?" The seller does everything possible to make sure the answer is a resounding "Yes" — from greeting visitors with a welcoming smile to filling the place with appealing art.
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.
Strategic Planning for Independent Artists
Staff , Darren K. Woods, general director, Fort Worth Opera
Making Connections12/2/2009
In order to be successful as an independent artist, one must treat one's work as a small business. This session, led by Fort Worth Opera General Director Darren K. Woods, will give artists the tools needed to create business plans and reach professional goals in the opera field.
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.
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.
Assessing Your Career: Calling Upon Your Network
Diana Hossack ,
Voices9/27/2011
It is difficult to be both an artist and a business person. You need to say something uniquely “you” to an audience –– and when you come off the stage, you have to put on a business hat and be the president of your own corporation. You have to make sense out of your experience –– but you don’t necessarily have to do this alone. It is crucial to surround yourself with a strong network of advisors.
Who are Your Best Customers (and Why Many Don't Know)?
Chad M. Bauman, Arts Marketing Blog ,
Original Content12/22/2011
Some time ago, I was at the box office when a major donor who lives out of town came up to the window. I instantly recognized her even though she hadn't visited us in quite some time. After warmly welcoming her back, I stepped away briefly to attend to another matter, and when I returned to continue our conversation, I was startled to see that she was being charged an exchange fee to transfer into another performance. When I inquired, the box office associate rightly told me that she wasn't a subscriber, and that waiving exchange fees was a subscriber benefit. In this case, the patron wasn't a subscriber because she lived thousands of miles away, however she was an incredibly generous donor, giving both to our annual fund and our campaign. Her giving over the years easily made her one of our most valuable customers, but because she wasn't a subscriber, the box office didn't grant her one of our entry level benefits.
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.
Living Opera
Darren K. Woods, General Director, Fort Worth Opera ,
Original Content10/1/2012
Fort Worth Opera’s Darren K. Woods on setting a new festival agenda

I guess you could say that opera festivals are in my blood. My first opera job as a professional singer was as an apprentice artist for Santa Fe Opera. I worked at Santa Fe most summers for the next 14 years, along with the festivals in Saint Louis, Chautauqua, Glimmerglass, Sarasota and several others, but eventually I retired from singing and became a general director. When I came to Fort Worth, the board charged me with breathing new life into our 60-year-old stagione company, and the idea of changing into a festival format was a natural leap for me — albeit an exciting and frightening one. It would necessitate altering our business model completely, trying something that had never been done in north Texas, and risking a patron base that was comfortable attending operas spaced out over the year. However, facing stiff competition from the hundreds of other arts organizations serving a population of over six million people in the Dallas-Fort Worth Metroplex, it was a matter of change or die.
On Networking
Angela Myles Beeching, Director, New England Conservatory Career Services Center ,
ArtistLink10/10/2013
You often hear, "It's not what you know, it's who you know!" There is a real element of truth to this but to be accurate, it's who you know and what you do about it that matters. Networking, or "schmoozing," is simply an exchange of information and resources; it's a two-way street.

People often associate networking with other fields — with high tech or business — not the arts. But networking is an important factor in all fields, especially in the "small world" of music where reputations and connections are critical, if not crucial, to career building.

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
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).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

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
the right hand side.

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.