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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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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
Original Content

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.

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
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From 42nd Street/Times Square:
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The building is on the same block as the train stop.

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