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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:
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.

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?
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.
NEA Opera Honors: Recognizing American Opera's Brightest Lights
Barrymore Laurence Scherer ,
Opera America Magazine1/1/1900
With the exceptions of chant and unaccompanied solo song, opera is probably classical music's oldest continuous genre. Invented just before 1600, it predates the symphony and string quartet, as well as the multi-movement concerto, all of them 18th-century developments. Therefore, it is no small matter that America, which as a nation came relatively late to opera, has produced an enormous wealth of operatic talent. OPERA America counts 114 professional companies in 43 states in its membership. Over half of these companies were established after 1970, and one quarter of the total were established since 1980.
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.
Audition Season is Coming. Are You Ready?
Anne Choe, Artistic Services Manager, OPERA America ,
ArtistLink9/15/2008
If you're a singer, there's a good chance you'll be performing an audition or two (or 17) this fall. Here are some helpful hints to get you through this exciting, albeit exhausting, time of year.
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
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.
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.
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.

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
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.