Username:
Password:


Forgot your password?
View Photo Credit  
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.
Recent Headlines
Main Page Artists Artistic & Production Administrators Board/Governance Education Finance/General Operations General Directors Marketing/PR Trustees/Donors
About the Headlines
Please note: Publications move online articles to their archives after a certain period. Therefore, articles listed here may only be available online for a short time. Some online publications may also require registration before you can read an article.

Headlines RSS Feed
Subscribe to this feed.

Submit a Headline
If you come across headlines that you feel should be listed here, please copy and paste the link below:
Link:  
Your E-Mail:  



Press Releases & Season Announcements
Would you like your press releases and announcements featured on the OPERA America website and in OperaLink? Submit the url to your announcement in the "Submit a Press Release" section. Press releases must be hosted on your own site or through a third-party site like Google Docs or PitchEngine. Please contact Patricia K. Johnson at PKJohnson@operaamerica.org with questions.
Please send all season announcements to Nicholas Wise (NWise@operaamerica.org), Communications and Publications Manager.
Finance/General Operations Headlines
Opera Star Joyce DiDonato Will Sing National Anthem at Game 7
Karen CrouseThe New York Times
The Royals starter Jeremy Guthrie was not the only person with Kansas City ties who spent Tuesday fervently hoping for the opportunity to perform on Wednesday at a World Series Game 7. The opera singer Joyce DiDonato, who grew up in Kansas City as an avid baseball fan, got the call from Major League Baseball to sing the national anthem for the game, should it be necessary.
Portland Opera makes dramatic move to summer seasons beginning in 2016: 'We want to avoid death by 1,000 paper cuts'
David StablerThe Oregonian
Portland Opera is planning to undergo the biggest change in its 50-year history. Beginning in 2016, the company will perform its entire season in a compressed, 12-week summer period.
Canadian Opera Company attendance numbers rise
Trish CrawfordThe Star
Audiences loved the Canadian Opera Company’s productions of Don Quichotte and La bohème last season, almost selling out both operas, the company announced Monday. The report of the 2013-2014 season presented to the COC’s annual general meeting celebrated an average audience capacity of 94 percent, up four percent from the previous year.
How Millennials Are Reshaping Charity And Online Giving
Elise HuNPR
Millennials are spending — and giving away their cash — a lot differently than previous generations, and that's changing the game for giving, and for the charities that depend on it.
San Diego Opera: Progress report
James ChuteSan Diego Union-Tribune
The reborn San Diego Opera continues to make strides. Here’s a progress report.
Met’s ‘Death of Klinghoffer’ Remains a Lightning Rod
Michael CooperThe New York Times
As the Metropolitan Opera prepares to stage John Adams’s critically acclaimed 1991 opera “The Death of Klinghoffer” on Monday for the first time, it has become enmeshed in a vitriolic debate that often seems to have more to do with the polarizing politics of Israel and the Middle East than the oratorio-like opera its singers have been rehearsing.
Opera Lafayette celebrates 20th anniversary, and Rameau
Anne MidgetteThe Washington Post
This year is the 250th anniversary of the death of Jean-Philippe Rameau and the 20th anniversary of Opera Lafayette. It makes perfect sense that the one should celebrate the other. Opera Lafayette, which started in the Capitol Hill basement of its conductor, Ryan Brown, has turned into an internationally recognized company precisely because it performs work that hardly anyone else is doing. Rameau is one of the most important French composers, but you’re unlikely to see his work at the Washington National Opera or the Metropolitan Opera, compelling as much of his music may be.
New York’s Metropolitan Opera on Review for Downgrade
Michelle KaskeBloomberg
New York City’s Metropolitan Opera Association, the largest performing arts organization in the U.S., is under review for a downgrade by Moody’s Investors Service, which cited reduced revenue. Moody’s, which rates the Met’s $100 million of debt A3, seventh-highest, said the review “reflects softening in earned and gift revenue,” according to a report by analyst Dennis Gephardt.
Donation puts Houston Grand Opera near $165 million goal
StaffHouston Chronicle
Houston Grand Opera’s “Inspiring Performance” endowment campaign reached $163 million in contributions Tuesday, thanks to a $1 million gift from Ernest C. and Sarah Butler of Austin. The Butlers’ donation, which will sponsor the company’s chorus-master position, puts the multi-year endowment drive near the $165 million goal set for Dec. 31.
$40 Million to Help Build Audiences in the Arts
Felicia R. LeeArtsBeat (The New York Times)
Most arts organizations these days are seeking ways to fill seats and to expand their audiences. On Wednesday, the Wallace Foundation will announce a $40 million effort to help performing arts organizations around the country do so.
Migrating Maestros: Why Are So Many European Conductors Quitting?
Fred PlotkinOperavore
Last year, I wrote about long-time prime minister Silvio Berlusconi's negative impact on every aspect of Italian society, including the arts. Reform efforts after his departure came through a new law called Il Legge Valore Cultura, which was intended to strengthen and maintain monuments (such as the Coliseum) and the 14 important Italian opera houses, often called foundations. One of the stipulations of this law was to reduce the size of the boards of the theaters, which may have resulted in a reduction in fundraising potential precisely when more money has to be sought from private sources.
The Met Set to Cut Millions
Jennifer MaloneyThe Wall Street Journal
The Metropolitan Opera's general manager, Peter Gelb, last week eliminated 22 administrative positions, or 9 percent of nonunion staff, and now must trim an additional $11.25 million from this year's operating budget — a reduction stipulated by an unusual agreement the Met struck with its unions in August.
'Massive' Klinghoffer Protest Planned for Met Opening Night
Susan ElliottMusical America
The “Coalition Against the Met Terror Opera” (CATO) has announced a “massive” protest scheduled for Sept. 22 starting at 4:30 p.m. It promises “thousands” on hand to declare their disgust with an “opera promoting terrorism, anti-Semitism, and anti-Zionism.”  ...CATO is protesting John Adams’s The Death of Klinghoffer, which opens Oct. 20.
Santa Fe Opera reports record fund-raising, second highest ticket revenues
Jackie JadrnakAlbuquerque Journal
More than 78,000 people attended performances at The Santa Fe Opera this summer, yielding $8.7 million in ticket sales, the second highest amount of ticket revenue collected in any season, according to Santa Fe's end-of-season report.
Sacramento classical music groups receive $1.1 million windfall from estate of former U.S. Forest Service worker
Edward OrtizThe Sacramento Bee
Three classical music organizations in the Sacramento region will share in a $1.1 million bequest from the late J. David Ramsey, a former U.S. Forest Service worker. It’s the most significant gift ever earmarked for classical music through the Sacramento Region Community Foundation, which has been overseeing such gifts since 1983.
Amid Choruses of Despair, an Aria of Hope
Adam NagourneyThe New York Times
Five months ago, San Diego Opera appeared on the brink of extinction after its board of directors, responding to the dismal economic and attendance news confronting opera companies from New York to San Francisco, voted overwhelmingly to close down after 49 years. But things did not work out that way. An unlikely coalition — opera buffs, labor unions, community leaders caught off guard by the threat of the company’s collapse and worried about the damage it would do to San Diego’s civic reputation — formed a rescue mission. 
At Home with Renée and Plácido
Michael CooperThe New York Times
...after a summer of armchair travels through the classical music world: Without removing my shoes at a single airport checkpoint, I was able to watch “Trauernacht,” Katie Mitchell’s somber modern staging of Bach cantatas in Aix, check out Anna Netrebko and a baritonal Plácido Domingo in the new production of Verdi’s “Il Trovatore” at Salzburg, and hear the rising young tenor Michael Fabiano sing Alfredo in Verdi’s “La Traviata” from Glyndebourne.
Met Opera, Remaining Unions Reach Contract Deals
Brian WiseOperavore
The Metropolitan Opera has now reached tentative labor agreements with all of its remaining unions. The International Alliance of Theatrical Stage Employees (IATSE) says the deal covers six unions representing several groups of workers, including camera operators, box office treasurers and scene artists and designers.
SoundCloud introduces ads so it can pay musicians and other creators
Stuart DredgeThe Guardian
With 175 million monthly listeners, SoundCloud is the second biggest streaming music service in the world behind YouTube. Yet it hasn’t paid royalties to the creators and rightsholders of that music for their plays on its site and apps.
Metropolitan Opera Extends Lockout Deadline
Jennifer MaloneyThe Wall Street Journal
The Metropolitan Opera has again extended its lockout deadline, postponing it by another week as an independent financial analyst completes his review of the company’s books, the U.S. Federal Mediation and Conciliation Service said.
Metropolitan Opera Forecasts 'Significantly Larger' Deficit This Year
Jennifer Maloney and Mike ChernyThe Wall Street Journal
The Metropolitan Opera expects its deficit for the fiscal year that ended July 31 to be "significantly larger" than last year's $2.8 million shortfall, according to a newly released financial-disclosure document.
The Longevity of Operatic Careers
Anna Knezevic and Mark KnezevicLinkedIn
The health of an opera singer's vocal chords is vital to the longevity of his or her career. Stressful overuse or improper technique causes burnout or early retirement. We usually hear of this in rock singing, where often singers are self-taught and learn to belt out high tunes, which while sounding impressive for the short term, can wreak havoc in the long term. The same is true for opera singers.
This Isn't Your Grandfather's Opera. And That's Just How the Mellon Foundation Likes It.
Mike ScutariInside Philanthropy
The Andrew W. Mellon Foundation has given the Minnesota Opera's New Works Initiative (NWI) a $750,000 gift, signifying the completion of the first $7 million of the NWI fundraising campaign. This recent Mellon gift kickstarts phase two of the NWI, which will support the production of Stephen King's The Shining by composer Paul Moravec and librettist Mark Campbell, as well as Dinner at Eight by William Bolcom and librettist Mark Campbell, based on the play by Edna Ferber and George S. Kaufman.
In Final Hours, Metropolitan Opera Extends Contract Deadlines for Unions
Michael CooperThe New York Times
The Metropolitan Opera postponed a threatened lockout late on Thursday night, saying that it had done so at the request of a federal mediator who was brought in at the 11th hour to try to salvage its contract negotiations with the unions representing its orchestra and chorus.
Met Opera, unions extend contract talks
Anne MidgetteThe Washington Post
This is the most heartening progress yet in a negotiation period that has been conducted, throughout the summer, in the public eye. With blog posts, calls to the media, and a steady stream of press releases, both the unions and the Met have done their best to steer the discussion.
The Future of Opera
Terry TeachoutThe Wall Street Journal
Terry Teachout explains why opera needn't be bound for extinction.
NYC Opera Strikes Deal To Stay In Control Of Sale Talks
Andrew ScurriaLaw360
A New York City Opera Inc. suitor agreed Wednesday that the current board should remain in charge of shopping the bankrupt institution, deferring an attempt to hand control of the sale process to a trustee and giving the board of directors the summer to negotiate with potential buyers.
Lorin Maazel, an Intense and Enigmatic Conductor, Dies at 84
Allan KozinnThe New York Times
Lorin Maazel, a former child prodigy who went on to become the music director of the New York Philharmonic, the Cleveland Orchestra, the Vienna State Opera and several other ensembles and companies around the world, and who was known for his incisive and sometimes extreme interpretations, died on Sunday at his home in Castleton, Va. He was 84.
Improbable Tales: Nonprofit Gives Back $10 Million Grant (and $10M Match)
Ruth McCambridgeNonprofit Quarterly
When is a multimillion dollar grant not needed? When it locks you into a way of doing things that is either unsustainable or simply not ideal.
What Do Opera Singers Actually Get Paid?
Jennifer RiveraHuffington Post
There has been a lot of union activity lately in the opera world, and numbers have been thrown around in the press which have caused many an ear to perk up.
Financial Cautionary Tales for Nonprofits (Google+ Hangout)
Ruth McCambridge & Kate BarrNonprofit Quarterly
The sector is full of stories about how organizations got themselves in a world of financial hurt. Some of these situations are, of course less than perfectly predictable but some are foreseeable because they are so common. One of the most astute financial analysts in the sector joined Ruth McCambridge in an hour long discussion of familiar financial traps, and how best to immunize your organization against financial woes.
On the State of Opera
Speight JenkinsOpera Sleuth
A lot of ink has recently been spilled about the demise of opera. Audiences are supposed to be drifting away; the number of subscribers is dwindling; people generally are not interested in our art form; all is gloomy, and opera has been described as being pushed off a precipice by public disdain and disinterest.
Revival Is on the Table for Bankrupt New York City Opera
Sara RandazzoThe Wall Street Journal
Could the curtain rise again at the New York City Opera? The shuttered institution, which closed its doors last fall after years of financial woes, could be revived in some fashion, according to two lawyers working on the opera’s Chapter 11 bankruptcy case.
San Diego Opera cutting costs as part of effort to achieve stability
David NgLos Angeles Times
As San Diego Opera continues to regroup and work toward mounting its planned 2015 season, scheduled to begin in January, the company has put cost-cutting measures in place that are expected to help it achieve a measure of financial stability.
English National Opera tightens reins as 58 groups lose Arts Council funding
Mark Brown and Mark TranThe Guardian
English National Opera is to have its regular public funding cut by £5m a year, one of the highest-profile losers in a high-stakes day of funding announcements that saw hundreds of England's arts organizations told of their settlements for the next three years.
Arizona Opera meets $1M challenge, erases debt
Cathalena E. BurchArizona Daily Star
Arizona Opera raised $500,000 in donations since May 1, matching a $500,000 gift from an anonymous donor as part of its second Million Dollar May blitz campaign.
Lyric Opera Baltimore scales back to one production and concerts for 2014-2015 season
Tim SmithThe Baltimore Sun
Lyric Opera Baltimore, which scaled back from three productions to two after its 2011-2012 inaugural season, is scaling back again. Only one staged work, Puccini's Madama Butterfly, will be presented during 2014-2015, the company's fourth season.
Lyric Opera [of Chicago] reports banner year for ticket sales, revenue, fundraising
John von RheinChicago Tribune
On Monday evening, Lyric Opera of Chicago announced significant increases in ticket sales, ticket revenue and fundraising in fiscal year 2014.

In 39th season, Opera Theatre of St. Louis shows good health, new work
Anne MidgetteThe Washington Post
This summer, Anne Midgette is traveling to several of the country’s leading opera festivals — St. Louis, Glimmerglass and Santa Fe — to evaluate how well they are doing in the current climate. A stop in St. Louis reveals that some of them are doing very well indeed.
Critic's Notebook: A Predicament Right Out of a Melodramatic Opera
Mark SwedLA Times
When announcements for the next opera season began arriving early this year, the overall impression was that our country's companies were getting livelier if not yet up to the more progressive European model.

Los Angeles Opera, in particular, is coming out of an economic slump and once again beginning to look like an artistic leader. In an especially encouraging development, American — and new American — opera has become commonplace all over the land.
A Modern Opera: Fat Unions May Kill the Fat Lady
Eric GibsonThe Wall Street Journal
An epic confrontation is playing out at the Metropolitan Opera, only it isn't the familiar one between star-crossed lovers. The famed opera company, which opened its doors in 1883, is in a life-or-death negotiation with its unions—15 of them.

That's right, 15 labor unions, with more than 2,000 workers. Stripped of its high-culture context, the Met finds itself in a battle that sounds eerily similar to the fiscal realities many big-city mayors are now confronting when negotiating overtime, work rules and health-care benefits with sanitation workers. It's not entirely similar, though: The average singer in the Met's 80-person chorus makes between $145,000 and $200,000 annually. The curtain could fall at the end of July, when the Met's contract with 15 of its 16 unions expires.
Opera Theatre of St. Louis sees subscription revenue, attendance rise
Angela MuellerSt. Louis Business Journal
Both subscription revenue and attendance have increased by 8.1 percent thus far this year at Opera Theatre of Saint Louis, making 2014 the company’s highest grossing subscription season in five years.
Opera bigwigs share survival strategies in SF
David WiegandArts & Not (San Francisco Chronicle)
For a moment there, the opera folks gathered in the ballroom of the Grand Hyatt for Friday’s opening session of the three-day national conference of Opera America were like a family assembled by the bedside of an ailing relative who’d just received a clean bill of health.
Four Seasons picks up the baton for gourmet tailgating at the opera
Damon ScottAlbequerque Business First
The world-renowned Santa Fe Opera kicks off its season later this month and with it will come some pretty high-level tailgating opportunities. The Four Seasons Resort Rancho Encantado Santa Fe is offering a gourmet tailgate and backstage tour for guests and residents.
Getting Buy-In for Your Website Redesign
Kimberly HedgesARTSblog
Most projects start with the need to address a deficit, and redesigning a website is no exception. Your current website may not be serving your visitor’s needs, the content might read like a brochure or look dated, the layout of the site may make it hard to find the best content you have to offer, or maybe the design looks like it was built back when we still used DOS. (Well, maybe not that bad, but you know the feeling.) There is just no denying that your website could be doing more.
Opera Screenings Do Not Drive Actual Opera Attendance, Study Finds
Patrick von SychowskiCelluloid Junkie
A UK study just released has found that screening opera in cinemas is not boosting the interest to attend performances in actual opera venues. The research would seem to provide ammunition to those who claim that event cinema screenings of Met and Royal Opera House productions is cannibalizing audiences from regional opera productions and is not increasing interest in the art form as a whole. However, a careful reading of the findings and underlying numbers provides a more complex picture.
Opera screenings failing to boost interest in the art form, survey finds
Nicola MerrifieldThe Stage
Around 85% of audiences that attend live screenings of opera do not feel more compelled to see the art form live afterwards, according to a new survey. The investigation found that, after seeing an opera at the cinema, around 75% of participants reported feeling no different about attending a live production, with around 10% feeling less motivated.
The Opera Cocktail
StaffKitchen Riffs
The Opera Cocktail was a classic in pre-Prohibition days. And no wonder—its lightness and clean, crisp flavor make it the perfect palate cleanser before a summer dinner. We’ll be drinking it to celebrate the opening of Opera Theatre of Saint Louis, a summer opera festival that runs from late May through late June. Tonight marks their second performance (Mozart’s The Magic Flute), and in June they’ll be presenting the world premiere of Gordon & Vavrek’s Twenty-Seven. More about all of this later.
Paris Opera and Ballet Productions Thrive in Movie Theaters
Celestine BohlenThe New York Times
Going to the opera is an event in Saint-Louis, a small French town of some 20,300 inhabitants nestled near both the Swiss and German borders. People get dressed up, they sip Champagne at intermission: Like operagoers everywhere, they are there to enjoy the occasion, as well as the performance. It doesn’t seem to matter that they are watching a screen in the 250-seat La Coupole movie theater. The performance is live, beamed directly from the Opéra Bastille or the Palais Garnier in Paris, with added features such as behind-the-scenes interviews and an opening introduction.

When Funds Go Missing, What Can You Do? What Must You Do?
Clifford PerlmanNonprofit Quarterly
One of the most difficult situations I’ve encountered while counseling nonprofit boards over the years is when they have discovered that the organization’s funds have been embezzled, most commonly by an insider. Two real-life situations are particularly noteworthy. In the first instance, the executive director stole more than a million dollars; in the second case, a former executive director and board member conspired to steal $4,000,000 from the organization. In each instance, the other board members approached me after the thefts had been discovered to ask about their fiduciary duties and potential personal liability.

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One


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.