Board of Directors Spring Meeting May 3-4, 2005 Detroit, Michigan

Tuesday, May 3

7:00pm Bus departs hotel Motor lobby

7:30pm Board of Directors Dinner Hosted by Mr. And Mrs. Brooks 1771 Seminole

Wednesday, May 4

9:00am to 10:00am Finance Committee Joliet B

10:00am to 11:00am Information/Online Services & Joliet A Membership Committees

11:00am to 12:00pm New York Relocation Committee Joliet B (open to entire board)

12:00pm Lunch Marquette A/B

12:30pm to 5:00pm Board of Directors’ Meeting Marquette A/B

6:30pm Network Dinners Various locations (optional)

Meeting Hotel Detroit Marriott at the Renaissance Center Renaissance Center Detroit, MI 48243 (313) 568-8000 or fax (313) 558-8146 Meeting of the Board of Directors Wednesday, May 4, 2005 Detroit, MI 12:30pm to 5:00pm

AGENDA

1. Approval of the minutes of the meeting of February 5, 2005 Tab 1

2. A. Report of the Chairman B. Report of the President Tab 2

3. Finance Report Tab 3

4. Membership Report Tab 4

5. Development Report Tab 5

6. Discussion Topics Tab 6

A. New York Relocation B. Committee on Directors

7. General Reports Tab 7

8. Next Meetings Tab 8

9. Other Business

10. Adjournment OPERA AMERICA Committees - FY2005 Revised 1/26/05

NAME Committee on Finance Membership Information/ NewYork Directors Online Services Relocation

Patricia Beggs CHAIR X X

Patricia Compton XX X

John Conklin X

Susan Danis XX

David Devan X

Anne Ewers XX

Linda Golding X

Dennis Hanthorn XX

Claire Hopkinson XX

Speight Jenkins X

Paul Kellogg X

Barbara Leirvik X

David McIntosh XXX

Charles MacKay EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO

Janice Mayer

Erie Mills X

Peter Russell CHAIR

Marc Scorca EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO

Kevin Smith CHAIR

Ann Stanke X CHAIR

Robert Swedberg X

Joseph Volpe X

Willie Waters

Mark Weinstein XX MINUTES OF THE MEETING OF THE BOARD OF DIRECTORS February 5, 2005 Washington, D.C.

Board Members Present: Charles MacKay, Chairman; Patricia Compton; Linda Golding; Dennis Hanthorn; Claire Hopkinson; Barbara Leirvik; David McIntosh; Erie Mills; Kevin Smith; Ann Stanke; Mark Weinstein.

Board Members Absent: Patricia Beggs, John Conklin; Susan Danis; David Devan; Anne Ewers; Speight Jenkins; Paul Kellogg; Janice Mayer; Peter Russell, Robert Swedberg, Joseph Volpe, Willie Waters.

Staff Members Present: Diana Hossack; Debra Harrison; Kelley Rourke; Sara Strother; Rebecca Ackerman; Kate Ehle; Andrea Johnson; Harv Wileman.

1. Approval of the Minutes of the Meeting of October 2, 2004

The minutes of the Meeting of October 2, 2004 were approved unanimously.

2. Report of the Chairman

Charles MacKay reported on the continued illness of President and CEO, Marc Scorca, who will not be able to attend the Board meeting. He noted that Patty Beggs, Treasurer, is also sick with bronchitis in Cincinnati and is not able to attend the meeting.

Charles welcomed new Board members Erie Mills and Barbara Leirvik, both of whom are attending their first meeting. He noted the resignation of Ian Campbell and Michael Ching. Ian cited schedule conflicts that will keep him from attending meetings in the foreseeable future but promises his continued active involvement and support. Michael Ching noted his desire to focus on his artistic activity at Opera Memphis and as a composer. Accordingly, Michael has appointed another General Director who is the official representative of Opera Memphis to OPERA America.

1.1 On the Development front, Charles thanked Board members who have already made their contributions and encouraged others to do so as soon as possible. He reported that Pamela Hoiles has returned a signed pledge letter for her $2.5 million commitment over five years to help cover the costs of OPERA America’s move to New York.

Pamela’s interest in becoming more actively involved in OPERA America raises the question of governance – especially the question of support committees. Although the Committee on Directors has no specific recommendations for review at this Board meeting, there have been good discussion about the need to expand the knowledge base and connections of OPERA America. Someone with expertise in new media would be helpful, as would an accountant who could provide advice as OPERA America’s finances become more complex.

Charles noted that Marc was going to make a summary presentation of some of his recent board consultations, with additional trend analysis. Some trends are alarming and raise questions about opera companies’ efficiency and sustainability. Charles referenced an article included in the Board Book. He remarks led to a general discussion about various developments at member companies. In response to comments about mergers and functional collaborations, Claire Hopkinson commented that merged institutions tend to create even larger institutions that become more dependent on larger productions of standard repertoire. She also cautioned that the direct connection to passionate audience members becomes more diffused as large institutions try to serve multiple audiences.

Ann Stanke and Erie Mills noted how new performance venues have led to tremendous ticket sales in Madison and San Jose. There was discussion about the effectiveness of collaborative promotional programs across organizations in a city.

Claire Hopkinson presented a brief report about Opera.ca in the absence of David Devan who was unable to come to Washington. There is a new member, La Nef – another new works laboratory. Opera.ca, despite being one of the smallest service organizations in Canada is a leader in the area of advocacy. Currently, advocacy is centered around the Canada Council – which provides far more in subsidy to opera companies than does the NEA in the United States. 2007 is the 50th anniversary of Canada Council, and advocates are making the case for a 100% increase in Council’s budget. Working with the Banff Center, Opera.ca is developing an executive retreat/seminar for members this summer.

3. Finance Report

The Finance Report was presented by David McInosh in the absence of Patty Beggs. David reported that members of the Finance Committee met with the OPERA America auditors. OPERA America finances and financial systems appear to be in good shape. The current financial condition of the organization is consistent with recent reports.

1.2 The Committee spent considerable time reviewing accounting procedures for the expenses related to OPERA America’s relocation. Expenses will be of two types: One-time expenses, such as the cost of movers, brokers, and the build-out of the new space; and on-going operating expenses, such as staff salaries, taxes, insurance, and rent. Procedures for allocating grants need to be clear for purposes of reporting to donors and for drawing funds from restricted accounts.

In terms of the Opera Fund, State Street Global Advisors have invested the endowment. The value of the endowment has increased in recent months, the allocation among investments is consistent with the approved investment policy, and the performance of OPERA America’s investments is favorable when compared to appropriate indices.

4. Membership Report

Ann Stanke, Secretary, presented the membership report. She began by congratulating Sara and Harv for their excellent work in improving the systems related to these important areas. An overall update of the database and web site – especially the membership section of the web site – is under way.

Affiliate, Business and Individual memberships are fairly consistent with this time last year, even after adjusting for the reallocation of “premium” members from membership to the Annual Fund. There are no applications for Company members; Tacoma Opera has come back into the membership after having been placed on temporary hiatus. A regional meeting in San Francisco in February will be led by Marc and will include almost every affiliate and smaller company member in the Bay Area.

The expansion of complimentary memberships for Trustees is an important strategy to help strengthen opera companies and to help build potential donor relationships with OPERA America.

5. Development Report

Sara Strother presented the Development report. She thanked Charles MacKay and Barbara Leirvik for their help in advancing the Annual Fund toward the goal for the year. Fueled by gifts from Board members and the challenge grant from the Ledler Foundation, we are not only on track to meet our original goal, but have increased our goal slightly to $91,000.

Ambassador trips include an upcoming visit to Los Angeles and San Diego, the Detroit Annual Conference, and the Seattle Ring Cycle in August. In order to build our acquaintance with other donors, we have opened this trip to supporters at the $250 level and above and have a pre-registration commitment from 26 people.

1.3 From the National Endowment for the Arts, we have secured a renewed capacity grant for $100,000 for FY06 and another consortium grant for $20,000. The grant will continue the development of Cornerstones with additional information about the works of Verdi, developed in partnership with Sarasota Opera.

Securing sponsorships for the Conference in Detroit has been a high priority and we appear to be on target to meet the overall goal of $40,000, $25,000 of which is the responsibility of our host company, Michigan Opera Theater.

In relation to the challenge grant from the Helen F. Whitaker Fund, Charles began a lengthy discussion with a review of the grant and its terms. OPERA America was awarded up to $5 million with a sliding matching requirement designed to yield an additional $15 million for a total of $20 million. Although in 1999 the Whitaker Fund had specified 2004 as the ending date of the grant, vagueness about the actual closing of the foundation and whether pledges would be matched has led to confusion. Verbal communications from the foundation are often contradictory.

With this as background, Charles explained that the latest communication from the Whitaker Fund seems clear. Only cash gifts received by June 30, 2005 will be matched. He emphasized that none of the approximately $2 million that has been granted to OPERA America is at risk, but that the remaining $3 million will not be given to OPERA America absent some exceptional cash commitments to the Opera Fund before June 30.

Kevin Smith noted that the New York relocation and related campaign made fundraising for the Opera Fund more difficult since the move is more tangible and immediate. Charles agreed with Kevin, but noted that relocation to New York will strengthen OPERA America’s relationship with donors who might consider major gifts to the Opera Fund. The two campaigns offer options to donors who may not like new works or who need to learn more about OPERA America before giving to a new works endowment.

In response to a question, Charles explained that the 5-year pledge from Pamela Hoiles toward the New York relocation would not be matched by the Whitaker Fund. Although the Opera Center will serve composers and librettists and can be seen as part of OPERA America’s commitment to new work, the connection is too indirect to satisfy the Whitaker Fund. He noted that Marc had already made this argument. In terms of the Lee Gillespie pledge, Charles explained that her estate was left in some disarray at the time of her passing and that it was not clear if and when OPERA America would receive the $500,000 balance of her $1 million verbal pledge to The Opera Fund.

It was agreed that OPERA America would benefit from taking a long view toward The Opera Fund. It would not have begun without the challenge from the Whitaker Fund, and we currently have over $6.5 million in the US and Canadian endowments. We will continue to cultivate donors and build the fund over time. In the meantime, the New York relocation will be a focus of activity with a group of donors and can strengthen the campaign for The Opera Fund in the future.

1.4 6. Discussion Topics

A. New York Relocation

Charles referred to the timeline on page 6.6 in the Board book. He summarized the Committee discussion at which it was agreed that the gift from Pamela Hoiles enables OPERA America to move forward with the relocation to New York with the ability to hire consultants as needed. At the same time, it is hoped that her gift will be used sparingly so that as much of it can be preserved for the New York-related endowment as possible.

It is anticipated that a specific location will be identified for OPERA America’s interim office space for review at the May Board meeting. In the meantime, OPERA America will continue speaking with a specific in New York lobbyist who will help in the effort to secure capital support from the City and State of New York and who has the ability to introduce OPERA America into the mainstream cultural network in New York. Similarly, we will work with the architect, Andrew Berman, to create visual images of the proposed Opera Center for use in donor cultivation.

While fundraising continues, especially among New York foundations, OPERA America will establish a spending policy for restricted contributions. Staff will also work with lawyers to determine the best strategy for incorporating OPERA America in New York. Charles noted Paul Kellogg’s caution that fundraising in New York at the moment is very difficult.

B. Governance Issues

Charles reviewed the fall discussion about the advantages and challenges of establishing other support groups to extend OPERA America’s intellectual resources, connection to the larger arts communities, and access to resources. The model that has been discussed is a “National Council” along the lines of the National Council of the American Symphony Orchestra League.

Various ideas have been suggested for consideration: A National Council for opera company trustees who can learn more about field-wide trends while meeting peers; an Advisory Council that could include leaders in the field who don’t have an interest in become involved with the governance of OPERA America as well as younger people who could learn from the discussion and acquaintance with leaders; and a New York Committee to help with the transition and to provide local connections.

Erie Mills asked for clarification of the relationship between OPERA America, general directors, and trustees of opera companies. She asked if OPERA America could “require” general directors to secure at least one local board member as a member of OPERA America’s Ambassador Circle. Barbara Leirvik explained the value of local board members of learning more about opera, practices at other opera companies and the services of OPERA America and expressed her hope that general directors would encourage participation. Charles MacKay noted that the Trustees Council or Patrons Council could be an inducement to encourage participation.

1.5 A more formal and detailed proposal will be presented for review at the May meeting.

7. General Reports

Charles asked if there were any questions about the General Reports. Ann Stanke asked about the staff transition in the Information Service. Diana explained that Kelley Rourke has hired a new Research assistant and that publications and services will continue without interruption.

Debra Harrison reported on some of the very strong staff who have joined OPERA America in recent months. Diana Hossack thanked the staff for all the work that has gone into advancing OPERA America’s core services. As we anticipate for the move to New York, managing the core services and preparing for the transition is a challenge.

Diana raised the subject of the Annual Conference and explained how much planning has gone into exploring the subject of Diversity. She asked members of the Board to encourage their colleagues in coming.

Harv Wileman asked Board members to consider what regular vendors they hire who would benefit from a Business Membership in OPERA America and who might consider exhibiting at the Conference to become more broadly known in the opera community. Charles supported this suggestion and invited staff to contact board members to recruit their assistance.

8. Next Meetings

The next meeting of the Board of Directors is schedule to take place on Wednesday, May 4 in Detroit, in association with Opera Conference 2005. Committee meetings will take place on May 3 and May 4. The Board of Directors dinner takes place on Tuesday evening, May 3.

9. Other Business

Charles asked Board members to remain in the room for a very brief executive session.

10. Adjournment

The meeting was adjourned at 4:35pm.

1.6

American Express National Audience Development Research Project

Analysis and Recommendations

Submitted by Sue Dahling Sullivan, Consultant [email protected]

March, 2005

Prepared by Sue Dahling Sullivan Page 1 4/28/2005

Executive Summary

OPERA America - the nonprofit service organization for opera - leads and serves the entire opera community, supporting the creation, presentation, and enjoyment of opera. Artistic services help opera companies and creative and performing artists to improve the quality of productions and increase the creation and presentation of North American works. Information, technical, and administrative services to opera companies reflect the need for strengthened leadership among staff, trustees, and volunteers. Education, audience development, and community services are designed to enhance all forms of opera enjoyment. OPERA America’s membership includes 125 Professional Company Members in North America, more than 250 Affiliate and Business Members (many of which produce and present opera), and 1,500 Individual Members from around the world. More than 13,000 subscribers receive OPERA America’s bi-weekly news bulletin, Broadcast News.

Project Description The goal of this project was to assess the effectiveness and thematic commonalities of four national research projects conducted in the opera field over the last ten years as well as to identify future research needs. The four projects, three of which were funded by American Express, included in the analysis were:

1996 Motivating Opera Attendance 2001 Observing Opera Attendance (American Express) 2002 Increasing Opera Attendance (American Express) 2003 Deepening Opera Attendance (American Express)

In addition to a thorough review of each report, information was gathered through a weekend retreat of key marketing directors who are regarded as opera field experts in regards to marketing, sales, and communications. Lastly, a survey was distributed to gather input that would be representative of the remainder of the field. The findings reflected in this report incorporate all of these inputs.

Key Research Findings

1) The research findings frequently validated local customer segment research and helped to renew awareness and focus on buyer motivations and purchase patterns. Although the key findings were not viewed as radically new or breakthrough by the field, many found that the research inspired them to take a fresh look at their customers and marketing plans.

2) The research findings played both direct and indirect roles in many opera companies marketing strategies and tactics. While larger companies primarily used the research to support or revise existing marketing strategies, smaller companies used it to shape their plans. However, most professionals were frustrated with the lack of resources at their own companies to test strategies, and expressed a desire for more actionable recommendations.

3) The research continues to generate a healthy dialogue within the field about its core customers and marketplace potential, what are successful implementation strategies and tactics, and the role of research beyond the marketing function. As important as the findings themselves, the ongoing process of identifying needs, collecting and analyzing data, and assessment has created a forum for the opera field to continually re-

Prepared by Sue Dahling Sullivan Page 2 4/28/2005

evaluate key assumptions, strategies, and applications. Topics include the role of subscribers vs. single ticket buyers, the competitive marketplace, resource allocation issues, trade-off decisions, and interdepartmental relationships.

Future Research Needs

While the audience development research is still viewed as relevant in defining the opera market’s core customer segments, surveyed participants felt strongly that the current environment reflects some profound changes that dictate different research needs for the future. Key themes surrounding trends and challenges in the field are:

• Demand for increased earned revenue bottom-line results. Marketing has new and increased responsibility and accountability for growing financial results through increased ticket prices, growing audience numbers, and increasing non- ticket revenue returns (i.e. cause-related sponsorships). • The entertainment and leisure marketplace has become more competitive and sophisticated. The number of nonprofits and commercial entities competing for a limited number of customers and “share-of-mind,” changing buying patterns (i.e. a quickly growing number of last minute single ticket purchasers), and higher expectations from a more sophisticated customer require new investments in “demand-side” strategies. • Marketing campaigns are undercapitalized and constrained by a lack of resources. Lack of staff, time, and adequate budgets combined with increased revenue goals in a more challenging marketplace have created an unsustainable mandate to “do more with less.”

But as the nonprofit field in general and the opera field in particular experience a paradigm shift, opera marketing professionals identified three priorities for the future that would benefit from additional research, analysis, and discussion:

1) Technology: This emerged as the most critical area of interest from the field. It is widely accepted that technology needs to play an important part in current and future marketing campaigns, including but not limited to email campaigns, web marketing, online sales, CRM systems, etc. 2) Implementation Strategies and Tactics: While the first phase of research focused on the “who” or the customer, the next phase needs to focus on the “how” with implementation strategies and tactics. The value of learning from tangible examples of best practice case studies as well as unsuccessful campaigns was deemed critical for the field to successfully translate the research into results. 3) Audience Retention: An ongoing question remains on why core subscribers and single ticket buyers stop purchasing, what elements are within a company’s control (i.e. repertoire choices, benefits, etc.) and what are beyond (i.e. life cycle changes, economy, etc.), and what strategies are effective in increasing retention rates.

Prepared by Sue Dahling Sullivan Page 3 4/28/2005

Research Reports – Analysis

Each research report was individually reviewed and ranked by both a marketing panel of field experts as well as by a randomly selected sample, collectively representing over 15% of OPERA America’s domestic company membership. While over 80% of the companies had copies of the reports (except for the oldest report in 1996 which only 60% could access), an average of 60-70% had actually read the reports. In some cases, the assessment survey actually prompted a new review of the report findings.

Content In analyzing common themes in the research findings, it is clear that all customer segments share an interest in the arts in general, are well-educated, and had some exposure to arts education either through family, friends, school, or other activities. Common motivators included appreciation for a high-quality live entertainment experience, some degree of commitment to lifelong learning and enrichment, and the effective lowering of barriers to access (including awareness of surtitles, going with a friend/family member, pre-opera lectures, etc.). A significant barrier to attendance throughout the reports was the impact of life cycle situations which correlated to price sensitivity, time constraints, and general interest and knowledge. A more detailed comparison and overview matrix of findings can be found in the appendix.

As previously noted, larger companies found that the content validated their own research findings but improved awareness about general customer-driven issues and focus. Smaller companies appreciated the value of research that they could not do on their own, but lacked the resources and knowledge to translate the findings into actionable plans.

Use of Reports Many felt that the reports themselves lacked tangible action-oriented recommendations that could be reasonably implemented. Some felt that the reports were “too bulky” and the intricate charts included in the 2002 and 2003 Decision Partners reports were hard to understand. Users felt that the following key issues impacted their ability to effectively use the reports:

61% Limited marketing resources 39% Data not pertinent 33% No/limited marketing staff to interpret data

Other factors included high staff turnover, poor record keeping, and the perception that the information was outdated.

Applied Research Examples On the other hand, all participants were able to share marketing and communications examples that were directly or indirectly influenced by the research. Examples of applied research include:

• New or improved CD samplers o Example: Seattle Opera 2005/06 Season Preview CD with website link for more detailed information (music clips, costumes, synopsis, artists bio’s, etc.) • Direct mail pieces highlighting surtitles, pre-opera lectures, story lines o Example: Florida Grand Opera 2005-06 brochure/mailing panel “New to Opera?” • Communications materials that make opera less intimidating o Example: Michigan Opera Theatre “Your Ticket to the Opera” brochure • More background information provided before each show

Prepared by Sue Dahling Sullivan Page 4 4/28/2005

o Example: Vancouver Opera The Threepenny Opera mailer includes a panel on the set design • Improved customer training programs at the office and at the theatre o Example: Boston Lyric Opera staff took an onsite customer service class taught by human resource trainers from The Four Season Hotel/Boston • Promotions directly correlated to specific seat location and availability o Example: Vancouver Opera Priority Seating Voucher (La Traviata, Madama Butterfly) • Cross-cultural collaborations and outreach o Example: Cleveland Opera Arts Threesome brochure for a ballet, opera, and theatre ticket promotion • Internal discussions and decision-making (reports were shared with artistic, general director, fundraising, and/or education departments to highlight specific cross-over information) o Example: Many companies • Vendor education (several companies shared research with outside vendors and/or consultants) o Example: Michigan Opera Theatre provided copies of the reports to the General Motors marketing team while developing a large-scale promotional campaign • Improved in-theatre signage and messaging as well as streamlined concession sales o Example: Vancouver Opera, Boston Lyric Opera • Testing of targeted marketing strategies (vs. one umbrella campaign) including referral campaigns, contemporary work campaigns, etc. o Example: Florida Grand Opera created a board referral campaign

Future Needs and Recommendations

The marketing expert panel spent a significant amount of time discussing the changing trends and increased challenges within the opera field, especially as it related to earned income. As referenced in the Executive Summary (and detailed in a condensed summary of the experts working group discussions), the market seems to be changing faster and faster. At the same time, the role and expectations of marketing within each opera company have become more challenging. Key issues and trends identified include:

• Competition: greater number and type • Customers: sophisticated, more choices and options, last-minute, decreasing loyalty; changing urban multi-cultural markets • Resources: limited staff, time, and budgets • Revenue: aggressively increased goals, demand for more diversified earned revenue streams • Expectations: difficult to keep expectations realistic; need to guarantee success • Models: Need for new business models to address changing environment

Based on the above, future research projects should incorporate all of the following:

1) Results-oriented and revenue-generating focus 2) Tactical, practical, and actionable plans 3) Focus on core audience trends and challenges Prepared by Sue Dahling Sullivan Page 5 4/28/2005

4) Continuous field-specific feedback loops, workshops, and discussions

As noted in the Executive Summary, the following topics were identified as the top priorities in the field:

I. Technology: This emerged as the most critical area of interest from the field. It is widely accepted that technology needs to play an important part in current and future marketing campaigns, including but not limited to email campaigns, web marketing, online sales, CRM systems, etc. Possible components discussed included: • Expert presenters on marketing-related technology trends, resources, and applications • Creating accessible technology tools that could be utilized by the whole field (templates, field-based vendor discount pricing, and/or field-wide training) • Identifying best practices within a wider community that could realistically be translated to the opera field

II. Implementation Strategies and Tactics: While the first phase of research focused on the “who” or the customer, the next phase needs to focus on the “how” with implementation strategies and tactics. The value of learning from tangible examples of best practice case studies as well as unsuccessful campaigns was deemed critical for the field to successfully translate the research into results. • Collect best practice implementation strategies and tactics with actual results so that companies don’t need to “recreate the wheel” • Share unsuccessful strategies so that the field can learn collectively from failures. • Develop templates that can be adapted by other companies • Research benchmarks that companies can use to measure success • Incorporate “test” dollars for implementation within the field • Incorporate more face-to-face meetings of marketing professionals (outside of annual conference since many can’t attend)

III. Audience Retention: An ongoing question remains on why core subscribers and single ticket buyers stop purchasing, what elements are within a company’s control (i.e. repertoire choices, benefits, etc.) and what are beyond (i.e. life cycle changes, economy, etc.), and what strategies are effective in increasing retention rates. • Building on existing research, clarify why supporters/subscribers leave • Identify strategies and tactics to improve retention rates • Validate subscription trends (the pro’s and cons of flex packages, renewal rates of variable subscription performance packages, multi-arts subscription promotions, etc.) • Compare subscriber to multi-single ticket purchasers and estimate long term impact and trends

The Appendix

The following materials are included to provide greater detail:

1) Research Project Findings Comparison and Overview Matrix 2) Field Survey Responses 3) Expert Marketing Panel Workshop – Notes 4) Examples of Applied Research (brochures, CD’s, etc.)

Prepared by Sue Dahling Sullivan Page 6 4/28/2005

Acknowledgements

A special thanks to American Express and those who were interviewed and provided information for this project:

Opera America Staff Marc Scorca, President and CEO Elizabeth LaRocca, Media & Government Affairs Manager

Opera Marketing Professionals (P = Expert Panel Participant) Jim Fullan, Portland Opera (P) Penny Michonski, Opera Omaha Deborah Goetz, Baltimore Opera Company Chris Milligan, Cincinnati Opera (P) Catherine Guin, Cleveland Opera (P) Justin Moss, Florida Grand Opera (P) Jonathon Harrison, Vancouver Opera (P) Roberta Ricci, Lake George Opera Deb Hruby, Central City Opera (P) Stephanie Ricks, Seattle Opera (P) Steve Kelley, Kentucky Opera (P) Diane Rhodes, Fort Worth Opera Rachael Kidd, Shreveport Opera Mark Tiarks, The Santa Fe Opera (P) Carl Lee, The Minnesota Opera Kimber Whanger, Piedmont Opera Theatre Susan Mathieson Mayer, Lyric Opera of Laura Wyss, Michigan Opera Theatre (P) Chicago (P)

Submitted By: Sue Dahling Sullivan

Sue Dahling Sullivan Nonprofit Consultant 78 Fells Pond Road Mashpee, MA 02649 508-477-7394 [email protected]

Prepared by Sue Dahling Sullivan Page 7 4/28/2005

Current Trends in Tickets Sales: An Informal Survey of OPERA America’s Marketing/PR Network

April 2005

April, 2005

CONFIDENTIAL –INTERNAL USE ONLY Current Trends in Tickets Sales: An Informal Survey of OPERA America’s Marketing/PR Network

18 Companies Participated in the Survey

Subscriptions sales this year compared to this year’s budget

ƒ Above goal: 3 companies, by an average of 4.4% ƒ Even with goal: 5 companies ƒ Below goal: 9 companies, by an average of 7% ƒ N/A: 1 company

Single ticket sales this year compared to this year’s budget

ƒ Above goal: 5 companies, by an average of 8.46% ƒ Even with goal: 5 companies ƒ Below goal: 8 companies, by an average of 27.8%

This year’s subscription sales compared to last year’s actual sales

ƒ Above: 8 companies, by an average of 6.5% ƒ Even: 3 companies ƒ Below: 5 companies, by an average of 10.75% ƒ N/A: 2 companies

This year’s single ticket sales compare to last year’s actual sales

ƒ Above: 8 companies, by an average of 21.35% ƒ Even: 3 companies ƒ Below: 7 companies, by an average of 20.33%

Are patrons purchasing more expensive or less expensive seats than they have in recent years?

ƒ Less: 7 companies ƒ More: 7 companies ƒ Cheapest and most expensive sell equally fast: 3 companies ƒ N/A: 1 company

Is the pattern of later/last minute ticket purchases changing, and if so, how?

ƒ Same: 4 companies ƒ Last minute trend increasing: 13 companies ƒ Fewer: 1 company

April, 2005

CONFIDENTIAL –INTERNAL USE ONLY Are Internet ticket sales increasing or decreasing?

ƒ Increasing by small amount: 3 companies ƒ Increasing significantly: 6 companies ƒ Increasing: 5 companies ƒ No change noticed: 1 company ƒ N/A: 2 companies ƒ Decreasing: 1 company

Participating Companies:

Arizona Opera Baltimore Opera Boston Lyric Opera Cleveland Opera Connecticut Grand Opera & Orchestra Florida Grand Opera Houston Grand Opera Kentucky Opera Knoxville Opera The Minnesota Opera Company Opera Carolina Opera Memphis Opera Ontario Palm Beach Opera Pine Mountain Music Festival Portland Opera Santa Fe Opera Tapestry New Opera Works

Comments:

Pricing “Patrons are really going to the extremes – we are seeing some polarization on both ends. There are those that just want the cheapest possible ticket, and those that want the best, regardless of price. The middle prices are still selling well, but there seems to be more demand on the extremes.”

Last-minute ticket sales “Last minute ticket purchasing is changing dramatically. Six-week advance sale trends have exceeded expectations at the time of opening for the last 15 years, but are emerging distinctly differently this season. Sales are significantly increasing the week prior to opening and holding throughout the run.”

“The last minute pattern is bearing out in a frightening way. I am doing between 60 and 70% of single ticket sales during the last week leading up to opening.”

April, 2005

CONFIDENTIAL –INTERNAL USE ONLY

“Patrons are purchasing closer in and seem unwilling to commit too far in advance. Instead of steady sales six weeks out, I am seeing greater sales three weeks out, and particularly the week of the show.”

“It appears that patrons are buying closer to performance dates, but we have been testing various media schedules, so it is not clear whether it is consumer behavior change or our media timing.”

“There are still quite a few last minute purchases, but we have found that the bulk of our sales occur the week before a performance.”

“Like seemingly everyone else, our peak weeks keep getting pushed closer and closer to opening. This year, to make our budget for [an upcoming production], we will have to sell 55% of our single tickets in the three weeks just prior to opening.”

“We sell a bulk of single tickets during the final ten days before a show, and selling continues at the door.”

“People are more and more unwilling to commit early to season packages and purchases ahead of time. While our subscription sales are up, our single ticket sales are up even higher. We are also trying to be very flexible with single ticket buyers and exchanges so they are more comfortable with purchasing earlier.”

Advance ticket sales “We are selling a lot more tickets earlier than in the past. Income to date is 15% ahead of last year at the same time, and last year was our best year ever.”

Internet ticket sales “Web sales are increasing three times as fast as any other sales outlet.”

“Online ticket sales have increased dramatically for the 2002-03 season. Compared to where we were so far in the 2004-05 season, online sales have increased over 105%.”

“Web sales are continually increasing, now up to 40%.”

This report is a confidential work-in-progress for the internal use of participating companies and OPERA America Board members. All media inquiries about field-wide trends, statistics, and analysis should be referred to OPERA America.

April, 2005

CONFIDENTIAL –INTERNAL USE ONLY

SPECIAL REPERTOIRE RESEARCH PROJECT

Spring 2005

The Met’s Top 100

1152 La Bohème Puccini

1067 Aida Verdi

909 Carmen Bizet

903 La Traviata Verdi

856 Tosca Puccini

791 Rigoletto Verdi

790 Madama Butterfly Puccini

713 Faust Gounod

688 Pagliacci Leoncavallo

648 Cavalleria Rusticana Mascagni

612 Lohengrin Wagner

599 Il Trovatore Verdi

548 Lucia di Lammermoor Donizetti

545 Il Barbiere di Siviglia Rossini

500 Die Walküre Wagner

491 Don Giovanni Mozart

462 Tannhäuser Wagner

442 Tristan und Isolde Wagner

414 Le Nozze di Figaro Mozart

404 Die Meistersinger von Nürnberg Wagner

362 Der Rosenkavalier Strauss, R.

342 Die Zauberflöte Mozart

300 Roméo et Juliette Gounod

297 Otello Verdi

285 Parsifal Wagner

274 La Gioconda Ponchielli

269 Un Ballo in Maschera Rossini

264 Boris Godunov Mussorgsky 252 Siegfried Wagner

249 Manon Massenet

247 L'Elisir d'Amore Donizetti

245 Turandot Puccini

239 Hänsel und Gretel Humperdinck

232 Les Contes d'Hoffmann Offenbach

223 Fidelio Beethoven

221 La Forza del Destino Verdi

221 Götterdämmerung Wagner

209 Samson et Dalila Saint-Saens

207 Manon Lescaut Puccini

202 Die Fledermaus Strauss, J.

175 Don Carlo Verdi

171 Andrea Chénier Giordano

167 Falstaff Verdi

164 Così Fan Tutte Mozart

150 Salome Strauss, R.

149 Das Rheingold Wagner

147 Der Fliegende Holländer Wagner

139 Norma Bellini

129 Les Huguenots Meyerbeer

123 Gianni Schicchi Puccini

122 Simon Boccanegra Verdi

121 Eugene Onegin Tchaikovsky

116 Martha Flotow

115 Don Pasquale Donizetti

110 Mignon Thomas

105 Pelléas et Mélisande Debussy

The Creative Churn

Beethoven

Fidelio 1806

Bellini

Adelson e Salvini 1825 I Capuleti e i Montecchi 1830

Bianca e Fernando 1826 La sonnambula 1831

Il pirata 1827 Norma 1831

Zaira 1829 Beatrice di Tenda 1833

La straniera 1829 I puritani 1835

Bizet

La guzla de l'Émir 0 Malbrough s'en 1867

Clarissa Harlowe 0 Djamileh 1872

Grisélidis 0 L'arlésienne 1872

Don Rodrigue 0 Carmen 1875

La prêtresse 0 Noé, ou le Deluge 1885

La maison du docteur 0 Don Procopio 1906

Le Docteur Miracle 1857 Ivan IV 1946

Les pêcheurs de perles 1863 La coupe du roi de Thulé 1955

La jolie fille de Perth 1867

Debussy

Pelléas et Mélisande 1902 La chute de la maison 1977

Diane au bois 1968 Rodrigue et Chimène 1987

Donizetti

L'ange de Nisida 0 Alina, regina di Golconda 1828

L'ira d'Achille 0 Il giovedi grasso 1829

Enrico di Borgogna 1818 Elisabetta al castello di 1829

Una follia 1818 Il paria 1829

Il falegname di Livonia 1819 I pazzi per progetto 1830

Le nozze in villa 1820 Il diluvio universale 1830

Zoraïda di Granata 1822 Imelda de' Lambertazzi 1830

Chiara e Serafina 1822 Anna Bolena 1830

La zingara 1822 Gianni di Parigi 1831

La lettera anonima 1822 Francesca di Foix 1831

Il fortunato inganno 1823 La romanziera e l'uomo nero 1831

Alfredo il grande 1823 Fausta 1832

L'ajo nell'imbarazzo 1824 Sancia di Castiglia 1832

Emilia di Liverpool 1824 L'Elisir d'Amore 1832

Elvida 1826 Ugo, conte di Parigi 1832

Alahor in Granata 1826 Il furioso all'isola di San 1833

Il borgomastro di Saardam 1827 Parisina 1833

Otto mesi in due ore 1827 Torquato Tasso 1833

Olivo e Pasquale 1827 Lucrezia Borgia 1833

Le convenienze teatrali 1827 Gemma di Vergy 1834

L'esule di Roma 1828 Rosmonda d'Inghilterra 1834

Gianni di Calais 1828 Maria Stuarda 1835 Marin Faliero 1835 Adelia 1841

Lucia di Lammermoor 1835 Maria Padilla 1841

Belisario 1836 Linda di Chamounix 1842

L'assedio di Calais 1836 Don Pasquale 1843

Betly, o La capanna svizzera 1836 Dom Sébastien 1843

Il campanello di notte 1836 Maria di Rohan 1843

Roberto Devereux 1837 Caterina Cornaro 1844

Pia de' Tolomei 1837 Poliuto 1848

Maria de Rudenz 1838 Rita, ou Le mari battu 1860

La fille du régiment 1840 Gabriella di Vergy 1869

La favorite 1840 Il Pigmalione 1960

Flotow

Alfred der Grosse L'esclave de Camoëns 1843

Die Bergknappen Alessandro Stradella 1844

Pierre et Cathérine 0 L'âme en peine 1846

La fleur de Harlem 0 Martha 1847

Sakuntala 0 Sophie Katharina 1850

Sérafine 1836 Rübezahl 1852

Rob Roy 1836 Albin, oder Der Pflegesohn 1856

Stradella 1837 Pianella 1857

Alice 1837 Herzog Johann Albrecht von 1857

La lettre du préfet 1837 La veuve Grapin 1859

Le comte de Saint-Mégrin 1838 Naida 1865

Lady Melvil 1838 La châtelaine 1865

L'eau merveilleuse 1839 Zilda, ou La nuit des dupes 1866

Le naufrage de la Méduse 1839 Am Runenstein 1868 L'ombre 1870 Die Musikanten 1887

Rosellana 1876

Giordano

Marina 0 Marcella 1907

Mala vita 1892 Mese Mariano 1910

Regina Diaz 1894 Madame Sans-Gêne 1915

Andrea Chénier 1896 Giove a Pompei 1921

Fedora 1898 La cena delle beffe 1924

Siberia 1903 Il re 1929

Gounod

Sapho 1851 La reine de Saba 1862

La nonne sanglante 1854 Mireille 1864

Le médecin malgré lui 1858 Roméo et Juliette 1867

Faust 1859 Cinq-Mars 1877

La colombe 1860 Polyeucte 1878

Philémon et Baucis 1860 Le tribut de Zamora 1881

Humperdinck

Hänsel und Gretel 1893 Königskinder 1910

Die sieben Geislein 1895 Das Mirakel 1911

Dornröschen 1902 Die Marketenderin 1914

Die Heirat wider Willen 1905 Gaudeamus: Szenen aus dem 1919

Bübchens Weihnachtstraum 1906

Leoncavallo

Tormenta 0 Prometeo 0 Pagliacci 1892 La reginetta delle rose 1912

Crepusculum 1893 Are you There? 1913

Chatterton 1896 La candidata 1915

La bohème 1897 Prestami tua moglie 1916

Zazà 1900 Goffredo Mameli 1916

Der Roland von Berlin 1904 A chi la giarrettiera 1919

La jeunesse de Figaro 1906 Edipo Re 1920

Malbruck 1910 Il primo bacio 1923

Maia 1910 La maschera nuda 1925

Zingari 1912

Mascagni

Il re a Napoli 1885 Amica 1905

Cavalleria Rusticana 1890 Isabeau 1911

L'amico Fritz 1891 Parisina 1913

I Rantzau 1892 Lodoletta 1917

Silvano 1895 Sì 1919

Guglielmo Ratcliff 1895 Il piccolo Marat 1921

Zanetto 1896 Pinotta 1932

Iris 1898 Nerone 1935

Le maschere 1901

Massenet

Les Girondins 0 Les Templiers 0

Manfred 0 La Coupe du roi de Thulé 0

Robert de France 0 Esmerelda 0

L'Écureuil du deshonneur 0 Méduse 0

Montalte 0 La Grand'tante 1867 Don César de Bazan 1872 Sapho 1897

L'Adorable bel'-boul' 1874 Cendrillon 1899

Bérangère et Anatole 1876 Grisélidis 1901

Le Roi de Lahore 1877 Le Jongleur de Notre-Dame 1902

Hérodiade 1881 Chérubin 1905

Manon 1884 Ariane 1906

Le Cid 1885 Thérèse 1907

Esclarmonde 1889 Bacchus 1909

Le Mage 1891 Don Quichotte 1910

Werther 1892 Roma 1912

La Navarraise 1894 Panurge 1913

Le Portrait de Manon 1894 Cléopâtre 1914

Thaïs 1894 Amadis 1922

Meyerbeer

Das Brandenburger Tor 0 Il crociato in Egitto 1824

L'Almanzore 0 Robert le diable 1831

Jephtas Gelübde 1812 Les Huguenots 1836

Wirth und Gast 1813 Ein Feldlager in Schlesien 1844

Romilda e Costanza 1817 Le prophète 1849

Emma di Resburgo 1819 L'étoile du nord 1854

Semiramide riconosciuta 1819 Dinorah 1859

Margherita d'Anjou 1820 L'africaine 1865

L'esule di Granata 1821

Mozart

Lo sposo deluso 0 L'oca del Cairo 0 Apollo et Hyacinthus 1767 Idomeneo 1781

Bastien und Bastienne 1768 Die Entführung aus dem 1782

La finta semplice 1769 Le Nozze di Figaro 1786

Mitridate 1770 Der Schauspieldirektor 1786

Ascanio in Alba 1771 Don Giovanni 1787

Il sogno di Scipione 1772 Così Fan Tutte 1790

Lucio Silla 1772 Die Zauberflöte 1791

Il rè pastore 1775 La clemenza di Tito 1791

La finta giardiniera 1775 Zaide 1866

Musorgsky

Bobil' 0 Zhenit'ba 1868

Salammbô 0 Boris Godunov 1874

Mlada 0 Khovanshchina 1886

Pugachyovshchina 0 Sorochinskaya yarmarka 1911

Han d'Islande 0

Offenbach

La Duchesse d'Albe 0 Les deux aveugles 1855

La baguette 0 Madame Papillon 1855

Blanche 0 Paimpol et Périnette 1855

L'Alcôve 1847 Le Violoneux 1855

Pépito 1853 La Rêve d'une nuit d'été 1855

Le Trésor à Mathurin 1853 Le decameron 1855

Luc et Lucette 1854 Une Nuit blanche 1855

Ba-ta-clan 1855 Les Dragées du baptême 1856

Oyayaie, ou La reine des îles 1855 La Rose de Saint-Flour 1856

Entrez, messieurs, mesdames 1855 Le financier et le savetier 1856 Trombalcazar, ou Les 1856 Jacqueline 1862

La Bonne d'enfants 1856 Les bavards 1863

Le '66' 1856 Lischen et Fritzchen 1863

Un Postillon en gage 1856 Il Signor Fagotto 1863

Une Demoiselle en lôterie 1857 Les Géorgiennes 1864

Les Deux pêcheurs 1857 L'Amour chanteur 1864

Croquefer, ou Le dernier des 1857 Les fees du Rhin 1864

Vent du soir, ou L'horrible 1857 La Belle Hélène 1864

Les Trois baisers du diable 1857 Le Fifre enchanté, ou Le 1864

Dragonette 1857 Jeanne qui pleure et Jean qui 1864

Orphée aux enfers 1858 Les Refrains des bouffes 1865

Mesdames de la Halle 1858 Coscoletto, ou Le lazzarone 1865

La Chatte metamorphosée en 1858 Les Bergers 1865

Les Vivandières de la grande 1859 La Vie parisienne 1866

Geneviève de Brabant 1859 Barbe-bleue 1866

Le Mari à la porte 1859 Robinson Crusoé 1867

Daphnis et Chloé 1860 La lecon de chant 1867

Le Carnaval des revues 1860 La Grande-Duchesse de 1867

Barkouf 1860 La Permission de dix heures 1867

M. Choufleuri restera chez 1861 Le Château à Toto 1868

Le Roman comique 1861 L'Île de Tulipatan 1868

Apothicaire et perruquier 1861 La Périchole 1868

Le Pont des soupirs 1861 La Princesse de Trébizonde 1869

Le Chanson de Fortunio 1861 La Romance de la rose 1869

Le Voyage de MM. 1862 Les Brigands 1869

Monsieur et Madame Denis 1862 Vert-vert 1869 La Diva 1869 La Boulangère a des écus 1875

Fantasio 1872 Tarte à la crème 1875

Le Roi Carotte 1872 Pierrette et Jacquot 1876

Le corsaire noir 1872 La Boîte au lait 1876

Fleurette 1872 La Foire Saint-Laurent 1877

La Jolie parfumeuse 1873 Le Docteur Ox 1877

Les Braconniers 1873 Madame Favart 1878

Pomme d'api 1873 Maître Péronilla 1878

Bagatelle 1874 La Marocaine 1879

Whittington 1874 La Fille du tambour-major 1879

Madame l'archiduc 1874 Belle Lurette 1880

Le Voyage dans la lune 1875 Mam'zelle Moucheron 1881

Les Hannetons 1875 Les Contes d'Hoffmann 1881

La Créole 1875

Ponchielli

Bertrando dal Bormio 0 La Gioconda 1876

Roderico re dei goti 1863 La savoiarda 1877

I promessi sposi 1872 Il figliuol prodigo 1880

Il parlatore eterno 1873 Marion Delorme 1885

I lituani 1874 I Mori di Valenza 1914

Puccini

Le Villi 1884 Madama Butterfly 1904

Edgar 1889 La fanciulla del West 1910

Manon Lescaut 1893 La rondine 1917

La Bohème 1896 Suor Angelica 1918

Tosca 1900 Gianni Schicchi 1918 Il tabarro 1918 Turandot 1926

Rossini

La cambiale di matrimonio 1810 La Cenerentola 1817

L'equivoco stravagante 1811 Adelaide di Borgogna 1817

L'occasione fa il ladro 1812 Armida 1817

La pietra del paragone 1812 Mosè in Egitto 1818

Ciro in Babilonia 1812 Ricciardo e Zoraide 1818

L'inganno felice 1812 Eduardo e Cristina 1819

Demetrio e Polibio 1812 Ermione 1819

La scala di seta 1812 Bianca e Falliero 1819

Aureliano in Palmira 1813 La donna del lago 1819

L'italiana in Algeri 1813 Maometto secondo 1820

Il Signor Bruschino 1813 Matilde Shabran 1821

Tancredi 1813 Zelmira 1822

Il turco in Italia 1814 Semiramide 1823

Sigismondo 1814 Il viaggio a Reims 1825

Elisabetta Regina 1815 Adina, o Il califfo di Bagdad 1826

Torvaldo e Dorliska 1815 Le Siège de Corinthe 1826

La gazzetta 1816 Moïse et Pharaon 1827

Il Barbiere di Siviglia 1816 Le Comte Ory 1828

Otello 1816 Guillaume Tell 1829

La gazza ladra 1817

Saint-Saens

La Princesse jaune 1872 Samson et Dalila 1877 Le Timbre d'argent 1877 Phryné 1895

Étienne Marcel 1879 Les Barbares 1901

Henry VIII 1883 Hélène 1904

Proserpine 1887 L'Ancêtre 1906

Ascanio 1893 Déjanire 1911

Frédégonde 1895

Strauss, J.

Die lustigen Weiber won 0 Der lustige Krieg 1881

Romulus 0 Eine Nacht in Venedig 1883

Der Schelm von Bergen 0 Der Zigeunerbaron 1885

Indigo und die vierzig Räuber 1871 Simplicius 1887

Carneval in Rom 1873 Ritter Pázmán 1892

Die Fledermaus 1874 Fürstin Ninetta 1893

Cagliostro in Wien 1875 Jabuka 1894

Prinz Methusalem 1877 Waldmeister 1895

Blindekuh 1878 Die Göttin der Vernunft 1897

Das Spitzentuch der Königin 1880

Strauss, R.

Guntram 1894 Die ägyptische Helena 1928

Feuersnot 1901 Die schweigsame Frau 1933

Salome 1905 Arabella 1933

Elektra 1909 Daphne 1938

Der Rosenkavalier 1911 Friedenstag 1938

Ariadne auf Naxos 1912 Capriccio 1942

Die Frau ohne Schatten 1919 Die Liebe der Danae 1944

Intermezzo 1924 Tchaikovsky

Voyevoda 1869 Orleanskaya deva 1881

Mandragora 1870 Mazeppa 1884

Undine 1870 Charodeyka 1887

Oprichnik 1874 Cherevichki 1887

Kuznets Vakula 1876 Pikovaya dama 1890

Eugene Onegin 1879 Iolanta 1892

Thomas

La Double échelle 1837 Raymond, ou Le Secret de la 1851

Le Perruquier de la régence 1838 La Tonelli 1853

Le Panier fleuri 1839 La Cour de Célimène 1855

Carline 1840 Le Carnaval de Venise 1857

Le Comte de Carmagnola 1841 Psyché 1857

Le Guerillero 1842 Le Roman d'Elvire 1860

Mina, ou Le Ménage à trois 1843 Mignon 1866

Angélique et Médor 1843 Hamlet 1868

Le Caïd 1849 Gille et Gillotin 1874

Le Songe d'une nuit d'été 1850 Françoise de Rimini 1882

Verdi

Oberto Conte di San 1839 Giovanna d'Arco 1845

Un giorno di regno 1840 Attila 1846

Nabucodonosor 1842 Macbeth 1847

I lombardi alla prima crociata 1843 Jérusalem 1847

I due Foscari 1844 I masnadieri 1847

Ernani 1844 Il corsaro 1848

Alzira 1845 Luisa Miller 1849 La battaglia di Legnano 1849 Aroldo 1857

Stiffelio 1850 Un Ballo in Maschera 1859

Rigoletto 1851 La Forza del Destino 1862

Il Trovatore 1853 Don Carlo 1867

La Traviata 1853 Aida 1871

Les Vêpres siciliennes 1855 Otello 1887

Simon Boccanegra 1857 Falstaff 1893

Wagner

Das Liebesverbot 1836 Tristan und Isolde 1859

Rienzi, der letzte der 1842 Die Meistersinger von 1868

Der Fliegende Holländer 1843 Siegfried 1869

Tannhäuser 1845 Götterdämmerung 1876

Lohengrin 1850 Parsifal 1882

Das Rheingold 1854 Die Feen 1888

Die Walküre 1856

Premiere Dates: The Met’s Top 100

12 10

10 8

7 8 6

6 444 4

4 22 2

1 1 1 2 0

80s 90s 00s 10s 20s 30s 40s 50s 60s 70s 80s 90s 00s 10s 20s [---1700s ---] [------1800s ------] [------1900s ------] Premiere Dates: The Creative Churn

70

63 64

60 58

50 48

40

40 37 39 37 34 32

30 26

20

11

10 6 6 5 3 3 1 2

60s 70s 80s 90s 00s 10s 20s 30s 40s 50s 60s 70s 80s 90s 00s 10s 20s 30s 40s [------1700s ------] [------1800s ------] [------1900s ------] Board of Director Meeting May 4th 2005 Detroit, MI

Finance Documents Board of Director’s Meeting May 2005 - Detroit, MI Document Contents

1. Balance Sheet: Variance March 31st 2005 to March 31st 2004

2. Balance Sheet Foot Notes

3. FY05 Revised Projection Overview

4. FY05 Revenues: March 31st vs. Dec. 31st Projection

5. FY05 Revenues Notes

6. FY05 Expenses: March 31st vs. Dec. 31st Projection

7. FY05 Expenses Notes

8-9 FY06 Draft Budget Overview

10. FY06 Revenues: Draft Budget vs. March 31st Projection

11-12 FY06 Revenues Notes

13. FY06 Expenses: Draft Budget vs. March 31st Projection

14. FY06 Expenses Notes

15-16 Restricted Funds Report

17-18 Fiscal Agent Accounts Report

19. Opera Fund Endowment Report OPERA America Balance Sheet Summary Variance March '04 vs.'05

ASSETS March '05 NOTE March '04 Variance CURRENT ASSETS Cash & Short Term Investments 310,902 1 31,750 279,152 Investment - Opera Fund 5,583,431 5,109,896 473,535 Certificates of Deposit 495,985 396,985 99,000 PEW Research Initiative 153,619 255,492 (101,873) National Music Leadership 36,515 32,040 4,475 Performing Arts Convention 34,164 497,814 (463,650)

RECEIVABLES M!W!O! Level III 13,570 2 13,570 0 M!W!O! Level I & II 18,842 18,940 (98) Member Dues Receivable 8,307 22,848 (14,541) Grants Receivable 2,383,362 3 190,901 2,192,461 Other Accounts Receivable 59,704 56,259 3,445 Pre-Paid Expenses 36,740 4 58,042 (21,302)

TOTAL CURRENT ASSETS 9,135,141 6,684,536 2,450,605

Furniture & Equipment 16,911 20,053 (3,142) Other Assets 6,806 6,806 0

TOTAL ASSETS 9,158,859 6,711,395 2,447,464

LIABILITIES & NET ASSETS CURRENT LIABILITIES Accounts Payable 46,904 13,397 33,507 Accrued Vacation 22,773 21,058 1,715 Grants Payable 191,636 5 186,034 5,602

TOTAL LIABILITES 261,312 220,489 40,823

NET ASSETS Unrestricted Net Assets 205,053 198,489 6,565 Board Rest'd Net Assets 159,107 6 209,107 (50,000) Temporarily Rest'd Net Assets 3,340,356 7 979,657 2,360,699 Permanently Restricted Net Assets 5,239,033 5,109,896 129,137 Net Surplus (Deficit) (46,002) 8 (6,241) (39,761)

TOTAL LIABILITIES & NET ASSETS 9,158,859 6,711,395 2,447,464

3.1 Balance Sheet Foot Notes

Note 1 - Cash & Short Term Investments Suntrust Money Market Acct. 305,508 Suntrust Checking Acct. 210 Suntrust Payroll Acct. 4,892 Petty Cash 292 310,902

Note 2 - Polygram, the company producing the audio tapes which accompany the Music!Words!Opera! Level I and Level II textbooks, required OPERA America to pay an advance to cover production costs. OPERA America will eventually recover the advance in the form of royalties paid to OPERA America by MMB, the publisher of the text books.

Level I & II 18,842 Level III 13,570 Total 32,412 Note 3 - Grants Receivable New York Relocation 2,236,669 NEA Consortium 25,000 NEA Operating Grant 60,000 Hewlett Foundation 70,000 2,391,669

Note 4 - Prepaid Expenses Rent, General & Insurance 12,272 Postage 24,468 36,740

Note 5 - Grants Payable Opera Fund Repertoire Dev. 191,636 191,636

Note 6 - Board Designated for expenses associated with the closing of Opera World.

Note 7 - Temporarily Restricted Funds Whitaker Fellowship 7,444 NEA - Operating 60,000 Mellon On-Line 226,339 AMEX 16,095 Fiscal Agents 224,944 NEA - Cornerstones 3,938 Hearst Foundation 46,800 Hewlett Bay Area 100,192 Opera Fund CD Interest 2,376 Opera Fund Gains 342,022 New York Relocation 2,310,205 3,340,356

Note 8 - Net Surplus/(Deficit) - This variance results from a change in the timing of draws from temporarily restricted funds into P&L accounts and the booking of expenses related to grants awarded through the Opera Fund.

3.2 FY05 REVISED PROJECTION OVERVIEW

Although revenue projections are disappointing – especially in relation to the Annual Conference – expenses for the year have been reduced. The resulting year-end projections anticipate a balanced budget.

REVENUE Annual Conference. In spite of aggressive marketing, conference registration is predicted to fall $60,000 short of the approved budget.

Membership dues. All membership dues categories are slightly under budget, including company dues. A number of companies recorded lower operating budgets than in prior years, resulting in lower dues payments to OPERA America. Further, we are being conservative in projecting payments from companies that are known to be struggling.

Annual Fund. On the bright side, the Annual Fund is anticipated to reach the increased goal of $91,000. With full participation from board members and a strong renewal effort in the last months of the fiscal year, we may even be able to exceed this revised goal.

EXPENSES American Arts Alliance Dues. Due to the difference in fiscal year between the American Arts Alliance (December 31) and OPERA America (June 30), we have traditionally accrued our dues payment at year end. This year, we will book dues only as they are paid, resulting in a lower expense for the year. This will not have an impact on next year.

Staff Positions. Two staff positions are currently open. Although recruitment efforts continued through the winter, the positions have not been filled. They will not be filled before June 30.

Annual Conference. Lower registration has resulted in some reduced expenses for the Conference.

New York Relocation. Although New York relocation expenses are higher than budgeted, we are able to increase the draw from restricted grants to cover these costs.

Pew Research Project. The 2005 budget included direct expenses related to the Pew Research Project. These expenses were not incurred, or were covered directly by the restricted account dedicated to the project. OPERA America’s draw to cover management of the project remained.

3.3 2005 REVENUES - REVISED MARCH vs. DECEMBER PROJECTION

FY05 FY05 Projection Variance FY05 Board Projection Dec/04 ( ) = negative Approved

Mar./05 impact Note Budget Membership Professional Companies 654,000 660,000 (6,000) 1 679,800 International Companies 4,000 4,000 0 4,000 Affiliate/Business/Individual 133,781 148,781 (15,000) 2 149,653 791,781 812,781 (21,000) 833,453 General Operating Annual Fund 91,000 91,000 0 87,600 Getty Foundation 6,500 6,500 0 6,500 New York Relocation 100,000 50,000 50,000 3 50,000 197,500 147,500 50,000 150,600 Corporate Conference Sponsorships 43,300 40,000 3,300 40,000 TARGET - Opera World 35,000 35,000 0 35,000 Houston Artistic Workshop 0 0 0 15,000 78,300 75,000 3,300 90,000 Foundations HEARST - Special Educ. Project 40,500 40,500 0 15,000 HEARST - MWO Assessment Grant 0 14,996 (14,996) 4 14,996 HEWLETT - Bay Area Initiative 35,000 35,000 0 35,000 MELLON - Technology Program 135,000 135,000 0 135,000 AMEX 35,000 35,000 0 25,000 PEW - Research Initiative 81,343 81,343 0 81,343 Various Artistic Initaitives 0 0 0 25,000 WHITAKER - Fellowship XIII 0 7,443 (7,443) 5 7,443 326,843 349,282 (22,439) 338,782 Government NEA - Organizational Capacity 100,000 100,000 0 100,000 NEA - Army Base Project 30,000 30,000 0 50,000 NEA - Cornerstones 10,000 10,000 0 0 NEA - Co-Operative 199,650 199,650 0 195,000 339,650 339,650 0 345,000 Earned Income Opera Fund Endowment Income 75,000 75,000 0 75,000 Conference & Workshop 135,000 197,525 (62,525) 6 217,525 MWO - Workshop Fees 24,990 47,560 (22,570) 7 47,560 Publication Sales, Advertising 32,000 48,750 (16,750) 8 58,750 National Performing Arts Convention 25,000 25,000 0 25,000 Consultations Fees 7,500 7,500 0 5,000 Interest Income 12,000 12,000 0 12,000 Office Sub-Lease 0 0 0 5,000 Ambassador Travel 17,450 50,000 (32,550) 9 50,000 Misc Income 0 0 0 0 328,940 463,335 (134,395) 495,835

TOTAL REVENUES 2,063,014 2,187,548 (124,534) 2,253,670

3.4 Revenues Footnotes - (Variances >$5,000)

1. Although FY05 PCM membership renewals are strong, many PCM companies reported a reduction in expenditures from FY03 to FY04. Because OPERA America company dues are based on total expenses, total dues income is expected to be down this year. 2. This year, “premium memberships” that used to be recorded as part of the membership report have been moved to the Annual Fund. Membership income reported here is lower than budgeted. 3. The FY05 draw from the New York relocation fund has been increased to match actual expenses associated with the relocation. 4. The programming associated with this grant has been delayed until next fiscal year. Both expense and revenue for this project – promotion of the new Music!Words!Opera! materials – appear in the FY06 budget.

5. This income has erroneously been reported as receivable. The grant had been received in full several years ago. It will be written off at the end of the year in association with the audit. 6. As stated in the introduction, conference registration is significantly below expectations. Companies report that a lack of available funds is keeping them from attending this year. The excitement of last year’s Convention drew companies that traditionally attend the conference every few years, resulting in a sharper drop in attendance from last year to this year. 7. Fewer M!W!O! workshops will be presented in FY05 than originally anticipated. Reductions in revenue are fully offset by reduction in expenses. 8. It has been three years since the release of the 6th Edition of Career Guide. This is OPERA America’s most profitable publication, however the publication is not timeless and sales in year three are down. The recent release of new editions of Audition Advice for Singers and The Singer Manager Relationship are predicted to strengthen sales in FY06. 9. Ambassador travel was less extensive, both in number of trips and number of participants, than projected. Reduced revenues are offset by reductions in expenses.

3.5 2005 EXPENSES - REVISED MARCH vs. DECEMBER PROJECTION

FY05 Projection FY05 Projection Salary & Non- Salary & FY05 Board Mar./05 Dec/04 Overhead Overhead Approved

Variance NOTE Variance NOTE Budget ( ) = negative impact

Membership 222,514 227,681 6,417 (1,250) 244,269 Public Affairs 51,926 85,575 (351) 34,000 10 82,989 Cdn Affairs - 0 - - 0 Information Service 140,970 165,758 5,288 19,500 11 144,214 Conferences / Meetings 257,750 270,938 5,453 7,735 12 225,698 Publications 191,069 206,618 15,549 - 191,967 Public Relations / Marketing 55,186 55,958 (428) 1,200 57,336 Technical Production 21,202 28,615 3,624 - 32,177 Resource Development 116,401 192,422 13,163 62,858 13 243,555 Opera World 38,125 27,004 (321) (10,800) 14 31,130 Education 101,278 119,854 (2,744) 21,320 15 127,969 Fellowship Program 36,193 33,418 643 (3,418) 49,588 Artistic Initiatives/Opera Fund 265,926 293,641 16,891 7,985 16 309,511 Singers Program 72,768 78,016 12,183 - 74,349 Media Forum 6,000 6,000 - - 6,000 Trustee / Volunteer 25,467 24,175 (1,291) - 29,820 Opera Guilds International - - - - 0 General - Operating 215,743 217,574 9,020 (7,189) 17 274,869 General - Finance 138,024 139,325 (699) 2,000 120,150 New York Relocation 99,553 56,257 (282) (43,015) 18 TOTAL EXPENSES 2,056,094 2,228,828 82,114 19 90,925 2,245,592 - - -

TOTAL REVENUES 2,063,014 2,187,548 2,253,670

SURPLUS/(DEFICIT) 6,920 (41,280) 48,200 8,078

In order to reflect actual changes in departmental expenses versus the shifting of staff salaries between departments, variances are shown as salary or non-salary. The attached include a single explanation of combined staff variances and individual explanations for each non-salary variance >$5,000.

3.6 Expense Footnotes - (Non-Salary Variances >$5,000)

10. Annual dues paid to the American Arts Alliance have historically been accrued. This year, and in future years, dues will be recorded only as they are paid, consistent with OPERA America accounting practices. 11. Pew Research expenses in the OPERA America budget have been removed. Direct project expenses have been covered by restricted project funds. OPERA America has continued to draw a management fee for coordinating the project (Performing Arts Research Coalition). 12. Savings will been made in annual conference expenses by reducing the audio/visual rentals, busing fees, and staff costs. In addition, in light of the reduced number of registrants, the number of OPERA America staff working at the conference has been reduced. 13. Reductions in Development expenses are the result of two factors. Fees for David Bury & Associate’s (OPERA America’s NY relocation development consultant) have been reallocated to the New York Relocation. Bury wrote the successful Fidelity Foundation grant and is working with Marc on the approach to the Rockefeller Brothers Fund. Reduced Ambassador travel resulted in lower expenses. (See note 9 above.) 14. Legal fees related to the Opera World Boston warehouse closing have been added to the budget. 15. See note 7 above.

16. A production associated with a grant awarded in a prior year was cancelled, and funds were returned to OPERA America. 17. The failure of OPERA America’s repeated attempts to obtain tax exempt status in Pennsylvania will require the write-off of funds booked as receivables at the end of FY04. 18. New York expenses have increased due to the reallocation of expenses for David Bury & Associates, noted above, additional fees to Denham Wolf, and additional staff time and travel. 19. Salary Variance - Two staff positions remain vacant in the areas of development and artistic services.

3.7 FY06 DRAFT BUDGET INTRODUCTION OVERVIEW

After two years of consecutive annual budget declines, the FY2006 will increase over FY2005 by approximately $500,000, most of the increase resulting from expenses associated with the relocation to New York City. Strong financial support from both individuals and foundations will allow this move to occur without placing OPERA America at risk.

Beyond the New York relocation, the FY06 budget includes income and expenses associated with several special regional meetings and projects for which fundraising has already begun. If grants for these efforts are not secured, OPERA America will be able to cancel or postpone the initiative and reduce expenses.

HIGHLIGHTS: Income

Total membership revenues are predicted to increase over FY05 by just under $24,000 (3%). The increase is equally split between PCM dues and non-PCM dues. $15,000 of this increase is related to the strong hope that the Washington Opera will renew its membership for FY06.

Some multi-year projects have come to an end. The Performing Arts Research Coalition (funded by Pew) will be dormant until 2007. Accordingly, OPERA America will not draw a management fee in FY06. OPERA America will continue to draw a management fee of $25,000 for its role in the 2008 National Performing Arts Convention.

With the conclusion of the Cooperative Agreement with the NEA around the Opera Fund, government support declines in 2006 from FY2005 levels. The conclusion of this Cooperative Agreement is offset somewhat by the inauguration of a new Cooperative Agreement in association with the Great American Voices (military base) project.

Annual Fund Revenue is budgeted to increase as OPERA America builds its pool of potential donors through on-site Board consultations and other methods. The Ambassador Circle will receive a boost from the trip to Seattle with 25 travelers this August and the trip to Salzburg and Vienna being planned for the fall of 2006.

HIGHLIGHTS: Expenses

Of the total increase in expenses of $547,000, $372,000 is the result of relocating to NY (this includes one-time expenses as well as increased operating costs.). The remaining increase of just under $175,000 results from a variety of factors, staff salaries at $80,000 (annual increases plus filled positions), increased Ambassador Circle travel at $34,000, AAA dues at $15,000, expanded programming for Phase II of NEA-Great American Voices at $40,000 and modest inflationary adjustments.

The increase in Government Affairs expense is a result of the adjustment in recording dues payments to the American Arts Alliance. This increase is offset by a decrease in actual Alliance dues from $40,000 to $30,000.

3.8 Conference expenses increase with the addition of an artistic workshop and higher hotel costs (including A/V plus Food and Beverage) in Seattle. In the area of Artistic Services, a 5% draw from the Opera Fund endowment replaces the Cooperative Agreement grant income from the NEA. We anticipate awarding $200,000 in grants in FY2006. Additional artistic services that were reduced or eliminated in FY05 due to lack of staff and/or lack of sponsorship support have been reinstated for FY06.

3.9 2006 REVENUES - DRAFT BUDGET vs. FY05 MARCH PROJECTION

FY06 Draft FY05 Projection Variance FY05 Board ( ) = negative Budget March/05 Note Approved impact Budget Membership Professional Companies 670,000 654,000 16,000 1 679,800 International Companies 6,000 4,000 2,000 4,000 Affiliate/Business/Individual 139,746 133,781 5,966 2 149,653 815,746 791,781 23,966 833,453 General Operating Annual Fund 116,250 91,000 25,250 3 87,600 Getty Foundation 6,500 6,500 0 6,500 New York Relocation 472,497 100,000 372,497 4 50,000 595,247 197,500 397,747 150,600 Corporate Conference Sponsorships 45,000 43,300 1,700 40,000 TARGET - Opera World 35,000 35,000 0 35,000 Artistic Workshop Sponsor 25,000 0 25,000 5 15,000 105,000 78,300 26,700 90,000 Foundations HEARST - Special Educ. Project 0 40,500 (40,500) 6 15,000 HEARST - MWO Assessment Grant 14,996 0 14,996 7 14,996 HEWLETT - Bay Area Initiative 35,000 35,000 0 35,000 MELLON - Technology Program 115,000 135,000 (20,000) 8 135,000 AMEX 25,000 35,000 (10,000) 9 25,000 PEW - Research Initiative 0 81,343 (81,343) 10 81,343 Co-Commission Handbook 25,000 0 25,000 11 25,000 WHITAKER - Fellowship XIII 0 0 0 7,443 214,996 326,843 (111,847) 338,782 Government NEA - Organizational Capacity 100,000 100,000 0 100,000 NEA - Army Base Project 109,000 30,000 79,000 12 50,000 NEA - Cornerstones 20,000 10,000 10,000 13 0 NEA - Co-Operative 0 199,650 (199,650) 14 195,000 229,000 339,650 (110,650) 345,000 Earned Income Opera Fund Endowment Income 253,634 75,000 178,634 15 75,000 Conference & Workshop 219,170 135,000 84,170 16 217,525 MWO - Workshop Fees 26,190 24,990 1,200 47,560 Career Guide Sponsor 5,000 0 5,000 17 Publication Sales, Advertising 44,013 32,000 12,013 18 58,750 National Performing Arts Convention 25,000 25,000 0 25,000 Consultations Fees 7,500 7,500 0 5,000 Interest Income 12,000 12,000 0 12,000 Ambassador Travel 51,500 17,450 34,050 19 50,000 Misc Income 0 0 0 0 644,007 328,940 315,067 495,835

TOTAL REVENUES 2,603,997 2,063,014 540,983 2,253,670

3.10 Revenue Footnotes (Variance >$5,000)

1. PCM dues have been increased to reflect the recent level of interest of several Affiliate members in becoming Professional Company Members, and the sense that the Washington National Opera will be reinstated as an active member 2. Affiliate, Business and Individual membership goals reflect an average increase of 4.5%.

3. The growth of the Annual Fund will be driven by the creation of a Trustee Council and solicitation of new prospective donors, fueled by the extension of the challenge grant from the Ledler Foundation. 4. The relocation of OPERA America is being funded by restricted contributions. Funds will be drawn as required to match expenses.

5. The artistic workshop scheduled for 2005 has been rescheduled to 2006. This workshop will be conducted if we are able to secure sponsorship support. Effort is underway to secure such support. 6 and 7. There are two separate grants from the Hearst Foundation. One, for the re-design and expansion of M!W!O! will have been completed by the end of FY05. The other, including the promotion of the improved M!W!O!, has been moved to FY06. 8. OPERA America secured a three year grant from the Mellon Foundation in FY05. The FY05 portion of this grant was supplemented by a draw of funds that remained from a prior three-year grant. 9. We have reduced the projected FY06 AMEX grant renewal to a more conservative level; last year’s grant of $35k was $10k more than had been expected. 10. As mentioned above, the Performing Arts Research Coalition (funded by Pew) will remain dormant until FY2007. 11. We are seeking support for a new Co-Commission Handbook along the same lines as the existing Co-Production Handbook. If a grant is not secured, this project will be delayed. 12. Phase II of the NEA - Great American Voices project is significantly larger in scope than Phase I. Phase I of the program was predominately a planning grant. In Phase II, OPERA America will partner with the NEA in administering the program. 13. The NEA grant for the Cornerstones project (w/Boston Lyric Opera) concluded in FY05. Another grant for the further development of Cornerstones has been secured from the NEA to expand the content on Verdi, in association with Sarasota Opera.

14 and 15. The NEA Operating Grant that supported the Opera Fund concluded in FY2005. In FY06, grants and program administration will be supported by a draw from the Opera Fund Endowment 3.11 16. This income line combines revenue from registrations for an Artistic Workshop as well as the Annual Conference. In terms of the Annual Conference, projections are based on a five year registration average, including Detroit. Seattle was a very popular city for the 1994 Conference so we are reasonably confident of being able to return to more traditional levels.

17. OPERA America’s very successful Career Guide for Singers is a prime candidate for an advertising sponsorship. Based in New York, we believe we can secure a first-time sponsorship of $5,000 or several sponsor ads totally $5,000.

18. OPERA America will publish two new (revised) publications in May/June of 2005, sales from these publications are expected to be strong into FY 2006.

19. FY06 Ambassador Circle travel will include a trip for 25 members to Seattle for The Ring Cycle as well as other trips. Increased revenues will be off-set by increased expenses.

3.12 2006 EXPENSES - DRAFT BUDGET vs. FY05 MARCH PROJECTION

FY05 Projection Salary & Non- Salary & FY05 Board FY06 Draft March/05 Overhead Overhead Approved Budget Variance NOTE Variance NOTE Budget ( ) = negative impact

Membership 247,764 222,514 (23,469) (1,781) 244,269 Public Affairs 67,617 51,926 (562) (15,128) 20 82,989 Cdn Affairs - - - - 0 Information Service 133,333 140,970 1,331 6,306 21 144,214 Conferences / Meetings 294,212 257,750 22,781 (59,244) 22 225,698 Publications 228,146 191,069 (26,205) (10,872) 23 191,967 Public Relations / Marketing 57,915 55,186 1,097 (3,826) 57,336 Technical Production 17,285 21,202 7,966 (4,049) 32,177 Resource Development 144,859 116,401 (724) (27,733) 24 243,555 Opera World 43,674 38,125 (1,297) (4,252) 31,130 Education 99,809 101,278 (4,612) 6,081 25 127,969 Fellowship Program - 36,193 21,065 15,128 26 49,588 Artistic Initiatives/Opera Fund 307,807 265,926 (23,346) (18,535) 27 309,511 Singers Program 79,074 72,768 (46) (6,260) 28 74,349 Media Forum 6,180 6,000 - (180) 6,000 Trustee / Volunteer 18,781 25,467 6,800 (114) 29,820 Opera Guilds International - - - - 0 General - Operating 246,377 215,743 2,706 (33,340) 29 274,869 General - Finance 138,079 138,024 2,156 (2,211) 120,150 New York Relocation 472,497 99,553 (66,085) (306,859) 30 TOTAL EXPENSES 2,603,408 2,056,094 (80,444) 31 (466,870) 2,245,592 - - -

TOTAL REVENUES 2,603,997 2,063,014 2,253,670

SURPLUS/(DEFICIT) 588 6,920 (6,331) 8,078

In order to reflect actual changes in departmental expenses versus the shifting of staff salaries between departments, variances are shown as salary or non-salary. The attached include a single explanation of combined staff variances and individual explanations for each non-salary variance >$5,000.

3.13 Expenses (Non-Salary) >$5,000

20. Changes in booking dues payments to the American Arts Alliances caused a one-time drop in expenses in FY05. In FY06, the increase from 2005 is offset by an overall reduction in Alliance dues. 21. The upgrading of the Future Season databases has allowed for a reduction in outside contractor fees. 22. This line item includes expenses for an artistic workshop (see note 5 & 16 above) which will be approximately $30,000. Conference expenses in Seattle will be significantly higher than in Detroit because of staff travel, hotel food & beverage, and A/V rates. In addition OPERA America is not eligible for tax-except status in Washington State. 23. Publication expenses are higher due to costs associated with the creation of the Co- Commission handbook (if sponsorship is secured) and the first stages of the new Career Guide. 24. See note 19 above.

25. Reductions in Education expenses are a result of the completion one of the Hearst special projects. 26. The final phase of the Fellowship program was completed in 2005.

27. and 28. The Opera Fund Endowment has allowed OPERA America to maintain grant levels in 2006. As noted in the introduction, additional artistic services that were reduced or eliminated in FY05 due to lack of staff and/or lack of sponsorship support have been reinstated for FY06. 29. See note 12 above.

30. Expenses include one time New York relocation expenses such as moving fees, project manager fees, build-out expenses and in-direct (operation) expenses such as rent and salary increases (over standard annual increases) associated with the relocation

31. Salary Variance - The salary increase is the result of filling two vacant staff positions and regular CPI adjustments.

3.14 RESTRICTED FUNDS

EDUCATION/MUSIC! WORDS! OPERA! GRANT

In 1998 the Hearst Foundation awarded OPERA America $35,000 towards the expansion and development of the MUSIC!WORDS! OPERA! Program. Programming is planned for FY06 that will complete this project. In September of 2003 The Hearst Foundation awarded $60,000 towards further expansion of the MUSIC!WORDS! OPERA! Program.

Grants: Total Hearst funds available: $95,000 Total Grants: $95,000 Expenses & Adjustments FY 97-03 $20,004 FY04 Draw $19,500 FY05 Expenses YTD $8,697

Balance as of March 31, 2005 $46,799

HEWLETT FOUNDATION (Bay Area Project)

In April of 2004 The William and Flora Hewlett Foundation awarded a three year grant for general support with emphasis on the San Francisco Bay Area Initiative in the amount of $105,000. The grant will be paid in three installments over three years.

Total Grant $105,000

FY05 Expenses YTD $4,808

Balance as of March 31, 2005 $100,192

AMERICAN EXPRESS

In September of 2005 America Express awarded a grant in the amount of $35,000 for the assessment of our National Audience Development Research project.

Total Grant $35,000

FY05 Expenses YTD $18,905

Balance as of March 31, 2005 $16,095

3.15 ON-LINE SERVICES GRANT

In June 2001, The Andrew W. Mellon Foundation renewed its funding with an award of $300,000 over three years toward costs of maintaining and enhancing our databases and services on the Internet. The funds were received in September 2001. OPERA America was awarded another three year grant of $325,000 in FY05.

Balance On-Line Services - 06/01 $86,340

Total Renewed Grant (09/01) 300,000 Renewed Grant (08/04) 325,000

Draws: FY 02 100,000 FY 03 120,000 FY04 130,000 FY05 135,000 Total Draws: 350,000

Balance as of March 31, 2005 $226,340

PARC PLANNING GRANT (Pew - Planning)

The PARC project was established to build the data infrastructure to meet the managerial and marketing needs of the participating organizations and the policy-oriented needs of national service organizations. Participating organizations are Dance/USA, America Symphony League, Theatre Communication Group and Art Presenters.

Initial Gift: Pew Charitable $315,000

Expenses O.A. Admin Fees FY00-04 40,000 O.A. Admin Fee FY05 31,343 Program Expense FY 00-03 243,657

Balance as of March 31, 2005 $0.00

3.16 FISCAL AGENT ACCOUNTS

PARC PROJECT GRANT

The Pew Charitable Trusts made a three-year commitment in May 2001 of $2.7 million to the Performing Arts Research Coalition. Coordinated by OPERA America and including Dance/USA, Theatre Communications Group, the American Symphony Orchestra League, and the Association of Performing Arts Presenters, this project is dedicated to building the research and analysis capacity of the non-profit performing arts. It is specifically aimed at enhancing policy-directed audience research. OPERA America is the fiscal agent for the grant. The final payment arrived in September 2003.

Funds Received as of March 31/05 $2,723,942

Expenses: FY 02 $1,025,368 FY 03 1,014,709 FY 04 484,574 FY 05 YTD 45,653 Total Expenses: 2,570,304

Balance as of March 31, 2005 $153,629

NATIONAL MUSIC LEADERSHIP COALITION

The National Music Leadership Coalition includes all the service organizations that have received challenge grants from the Whitaker Fund. Coordinated by OPERA America, it includes the American Composers Forum, the American Music Center; Meet the Composer, Chamber Music America, the American Symphony Orchestra League, and the Association of Performing Arts Presenters. The Helen F. Whitaker Fund has made a $200,000 special capacity building grant to the Coalition to assist in consolidated fundraising activities. The Hewlett Foundation made a gift of $2,200,000 in December 2002. An additional contribution of $5,000 was received from Whitaker in March of 2005.

Total funds available: $2,405,000

Expenses: FY02 140,953 FY 03 2,158,698 FY 04 63,994 FY 05YTD 7,846 Total Expenses: 2,371,491

Interest & Misc. Income: 3,006

Balance as of March 31, 2005 $36,515 3.17 NATIONAL PERFORMING ARTS CONVENTION

The National Performing Arts Convention was a collaboration among America Symphony Orchestra League, Chorus America, Dance/USA, and OPERA America, held in Pittsburgh in June 2004. Funds were secured from various private and public institutions and individuals. The balance of funds will be used for the planning of Denver 2008.

Total Contributions $1,255,357

Expenses

Organization Expenses 495,851 Contract Expenses 180,515 Travel & Housing 81,052 Printing 30,157 Honorariums 70,311 AV-Tech-Catering 285,236 Other Expenses 77,436 ______Total Expenses: 1,220,558

Balance as of March 31, 2005 $34,799

3.18 Opera Fund Endowment Report as of March 31, 2005

Principal (Value All Gifts to Date ) 5,233,756

State Street Global July 1 Investment 5,324,933 FY04 OA Draw -75,000 Suntrust CD Withdrawal -250,000 Gains/Losses (YTD) 276,698 Fees -16,974

SunTrust Term CD 250,000 Interest YTD 2,905

Total Fund Balance as Dec. 31/04 5,512,562 *

Non-Principal Funds as of March 31/05 278,806 5.1%

SPENDING RATE: The spending rule adopted by the Board of Directors of OPERA America uses a long-term spending of up to 5% calculated on a twelve (12) quarter rolling average of the Endowment assets, before management fees and investment expenses. Exact amounts, to be drawn from the Endowment will be established in conjunction with approval of the annual budget during the spring Board of Directors meeting. Spending is subject to conditions stated below.

PRINCIPAL/CORPUS: Funds withdrawn shall not invade the Principal of the Endowment. “Principal” is defined as all unearned funds contributed to the Endowment. Should the value of the Endowment fall below the Principal due to investment performance, no draws shall be taken until such time as the value of the Principal has been re-established.

* Value does not match Balance Sheet due to timing of booking unrealized gains/losses.

3.19 MEMBERSHIP REPORT

FISCAL YEAR 2005 SUMMARY

As of March 31, 2005 OPERA America’s membership included the following:

Company Members: 133, of which • 108 are U.S. Company Members • 20 are Opera.ca Company Members • 5 are International Company Members

Individual Members: 1,766 , of which • 1188 are Basic and Singer Members • 16 are International Members • 173 are Donor Members • 354 are Trustee Designees • 35 are Opera.ca Individual Members

Affiliate Members: 172, of which • 160 are U.S. Affiliate Members • 12 are Opera.ca Affiliate Members

Business Members: 73, of which • 65 are U.S. Business Members • 7 are Opera.ca Business Members • 1 International Business Member

Other: 13,547 Broadcast News Subscribers

* refer to charts at the end of this report for further analysis

Staff Changes Membership Manager Harv Wileman will be leaving OPERA America in May 2005 to pursue further educational opportunities. Institutional knowledge is being actively transferred to Membership & Operations Assistant Becky Ackerman and Development Director Sara Strother. The search for a new membership manager in New York City will begin following the annual conference in Detroit.

PROFESSIONAL COMPANY MEMBERSHIP

Status Changes Opera Idaho, which was placed on hiatus in FY03, has set up a payment plan with Susan Schultz and made its first payment toward FY05. This officially brings them out of hiatus and back into Professional Company Membership. Harrisburg Opera, placed on hiatus the same year, is at the end of its two-year hiatus period and has informed us that they must withdraw from membership. Opera Rochester, placed in hiatus in FY04, will dissolve July 2005 to become part of Mercury Opera Rochester, a new company comprised of this company, Rochester Opera Factory, and the

4.1 Opera Theatre Guild in partnership with the Eastman School of Music. This new company, will be joining OPERA America as an Affiliate member this May (when Rochester Opera Factory’s Affiliate Membership expires). Their Executive Director will be Kristen Kessler (currently Rochester Opera Factory’s board president ).

Companies remaining on hiatus since FY04 include Lyric Opera Cleveland, Dicapo Opera Theatre, Opera Ebony, Opera Grand Rapids. Companies remaining on hiatus from FY05 include El Paso Opera and West Virginia Symphony.

U.S. Company Member Dues (report from OA accounting manager Susan Schultz) Collection of U.S. Company Member dues are continuing. To date we have collected $482,927 (91%) of a total $535,565 assessed thus far from 89 of 108 active members. Payment plans are in place for the balance of $52,635. Third reminder notices were sent to nineteen companies on April 13th. The goal for this year is $660,000.

Opera.ca (report from Executive Director Micheline McKay) Membership at Opera.ca is being sustained. Plans are underway to secure a part-time time membership and communications assistant, which should allow us to move forward more aggressively over the summer and into the fall.

Applications for Membership There are three applications for membership at this time. The Opera Company of North Carolina in Raleigh; Rogue Opera in Medford, OR; and Indiana University in Bloomington have each supplied sufficient materials to be considered by the Board for acceptance as Professional Company Members. Their full applications and all supplemental materials will be available for review at the Membership Committee meeting. In addition to these three, Granite State Opera in Temple, NH, has expressed enthusiastic interest in submitting an application for Professional Company Membership in time for the next board meeting According to our bylaws, a Professional Company must: 1. Be a nonprofit corporation whose repertory consists primarily of opera, or whose driving commitment to music is demonstrated by its repertory and through its relationships to local, state, and national funding agencies and to local, state, and national service organizations. 2. Produce and perform, before a paying audience, at least two performances each of two fully staged productions during the current season and each of the immediately preceding three seasons. 3. Employ at least one full-time general/artistic/music director plus a professional manager on a full-time or seasonal basis. 4. To the extent of composer intent, employ an orchestra for its productions. 5. Utilize paid, professional artists for at least some part of its productions. 6. Have an annual operating budget of at least $100,000. Annual audited financial statements or reviews are required for Professional Company Membership. Please note that the Board may choose to waive one unmet criterion.

4.2 The Opera Company of North Carolina Incorporated since 1996, this company is in its first season of producing two fully-staged operas, giving three performances of each. It is projecting two fully-staged productions for next season as well. It is a nonprofit 501 (c)(3) corporation and have submitted documentation to verify their status. The company has six staff (four full-time staff) including President/Founding Artistic Director Robert Galbraith. The company remunerates orchestral musicians, artists in both leading and supporting roles, and all chorus members. Its annual operating budget for FY05 is $914,810, and its projected budget for FY06 is $962,777 which would make them a Level IV company on the cusp of Level III status should it be accepted into the membership. (Financial statements prepared by an independent auditor were included for the last two fiscal years.) OPERA America has received a letter of recommendation from John Hoomes, general artistic director of Professional Company Member Nashville Opera in support of the Opera Company of North Carolina’s application.

Rogue Opera Incorporated in 1977, Rogue Opera (in the Rogue Valley of southern Oregon) is in its second season of doing eight to ten performances each of two fully-staged productions (a mixture of opera and operetta). Two productions are also projected for next season. In addition, they have toured both productions each of those years from Medford to Grants Pass, OR and Ashland, OR and have added anywhere from seventy-six to ninety-five additional outreach and educational performances in each of those years. With their closest company members being Sacramento Opera to the south and Eugene Opera to the north, Rogue Opera is serving a considerable stretch of the West Coast not currently represented by Professional Company Membership. They are a non-profit 501 (c)(3) corporation and have submitted documentation to verify their status. The company has one full-time Office Manager, two part-time seasonal employees (production manager and box office), and four regularly employed per-event contractees (including Artistic Director Dr. David MacKenzie) as well as an active in-kind Board. Board President Lorrie Hall is the primary contact for this organization. The company remunerates orchestral musicians as well as artists in both lead and supporting roles. Its annual operating budget for FY05 is $103,768.50, and its projected budget for FY06 is $105,000 which would make it a Level IV company should it be accepted into membership. This company was unable to provide audited financial statements. In lieu of these, they have submitted accountant’s compilation reports for their past two fiscal years as well as various itemized budgets. It is suggested that the Membership Committee examine these documents to determine their acceptability as an alternative to a true audit. OPERA America has received a letter of recommendation from Robert Ashens, artistic director of Eugene Opera in support of Rogue Opera’s application.

Indiana University Opera Theatre Incorporated in 1947, the Indiana University Opera Theatre produces eight operas a year for a total of twenty-seven performances. The Opera & Ballet Theatre is a department of public Indiana University and has twenty-three full-time administrative and production staff (including Executive Administrator Maria Levy). It remunerates guest artists participating in its productions. In lieu of an audited report, it has submitted an itemized FY04 budget along with a signed letter from the Royce Deckard, director of budget & finance for the School of Music

4.3 confirming that the budget is legitimate. A scrutiny of the numbers by OPERA America Accounting Manager Susan Schultz reveals an opera (as opposed to combined opera and ballet) budget of $912,094 which would make them a Level IV company should they be accepted into membership. As with Rogue Opera, the Membership Committee must decide whether or not to accept for this company’s application in the absence of audited financial statements. OPERA America has received a letter of recommendation from John C. Pickett, executive director if Indianapolis Opera in support of Indiana University’s application.

Besides Granite Opera, other companies identified as potential Professional Company Members include current Affiliates: Cedar Rapids Opera (Iowa), Festival Opera (San Francisco), Fresno Grand Opera, Gotham Chamber Opera, Rimrock Opera (Billings, MT), Summer Opera Theatre Company (Washington, DC), and Wichita Grand Opera. Other potential companies who are not currently members include: Lamplighters Music Theatre (San Francisco), Nevada Opera Theatre (Las Vegas), Opera San Jose, and Pocket Opera (San Francisco).

OVERVIEW OF INDIVIDUAL, AFFILIATE, AND BUSINESS MEMBERSHIP

We are pleased to report that March’s figures indicate that we are over $5,000 ahead of last fiscal year’s revenue as of March 31. We are at 61% of this year’s revenue goal, and ahead of FY04's numbers in each membership category (Basic, Singer, Business, Affiliate, and Library). With spring traditionally being the busiest time of the year for Membership and with several initiatives remaining for the fiscal year, we continue to work toward our combined membership goal of $129,449.

Update on Initiatives

• Changes to the cost and benefits of Business membership have been communicated to members. As we have had a 17% increase in Business membership compared to FY04 at this time last year, the increase does not seem to be a deterrent and the enhanced benefits are proving effective recruitment and renewal factors.

• The Resource Development Department has produced a publications/services brochure in conjunction with the revision of titles in the popular Perspectives series produced by Artistic Services that was mailed to all current members designated as singers and former members designated as singers back through 2001. The design of this attractive brochure (developed by Sara Strother and Publications Manager Kate Ehle) will be used as the basis of a subsequent brochure focusing on soliciting membership rather than publication orders.

4.4 • The Resource Development Department and frequent collaborator Andy Weiskof completed design of a new full-page membership prospecting ad (with join form) for Classical Singer Magazine and the NATS Journal of Singing. The ad has already appeared in the March and April issues of the former and in the April/May issue of the latter and join forms are beginning to be returned to us.

• A membership brochure, marketed toward singers and detailing categories, benefits, and costs was created and mailed in April. This brochure, which contained contact information as well as a detachable join form was sent to 5,000 addresses - 2,500 gleaned from Classical Singer Magazine’s list of current and former subscribers and 2,500 voice faculty culled from the College Music Society.

Remaining Initiatives: Recruitment/Prospecting/Member Relations

• The Devo/Membership Team has been working with the Information Technology Manager all year to redesign the membership portion of the OPERA America website to facilitate navigation and greatly simplify the join and renewal processes currently in use. We hope to have the new design completed and functional by the end of the fiscal year.

• OPERA America will once again be exhibiting at the Classical Singer Convention, an initiative that was wildly productive last year from both monetary and public relations standpoints. This year’s Convention is in May in New York City, and at least one Devo/Membership Team member will be manning the exhibit table.

• OPERA America is partnering with the Boston Singers Resource, an organization serving over 400 singers in the New England Area, to solicit their members for membership in OPERA America. BSR will send a prospecting email (created by us) detailing our benefits and offering them a 20% discount on singer forum subscription and will subsequently runa notice in their own online magazine. They are also willing to include OPERA America membership or publication brochures in a bulk mailing to over 1,000 of their own prospects that they have planned for the early summer. This is all at no cost to us other than the discounted membership offer to their current members.

• Membership is planning an initiative to prospect university career service centers for singer publication orders (perhaps offering them special rates). This market has yet to be tapped by OPERA America, and purchase of mailing lists from the College Music Society is being researched as a prime source. This research will also aid in a proposed prospecting initiative for Educational Affiliate Membership set for August 2005.

4.5 Database The database continues to provide challenges. The Finance and Administration department is responsible for managing all technical aspects of the database or implementation of any new future database. Membership is ready to participate or advise that department at any juncture deemed necessary. (See Information Technology report)

Individual Membership Renewal Rate : (FY05) 54.7% (past 12 months) 55.6% The individual renewal rate is slightly higher than in the last Board report. It is lower than in FY04; however, when compared to the two previous years, it is holding at a much more steady rate. With more initiatives for Individual membership coming up in the next three months, we hope to see an increase in both new members and renewal rates as a result of our efforts. New membership activity is very healthy. We also expect a steady increase once the design changes to the website (a huge source of renewal activity) are completed and the renewal and join processes become less confusing to the member or prospect. It should be noted that, regardless of the renewal rate, we are still ahead in terms of revenue by nearly $1,500.

Forums Four Forums are currently being offered as add-ons to Individual, Business, or Affiliate membership: Singer, New Works, Education, and Production. The price for any Forum being added to any category of membership is now a uniform $30. (It was formerly $50 to add any Forum to any organizational membership type.) The lower Forum price for organizations has been popular with Affiliates, particularly university and training programs who are the organizational members most likely to utilize this benefit. Each Forum type is now being offered as a stand-alone subscription. The Singer, New Works, and Production Forums all have healthy numbers of both kinds of subscribers. (There are as yet no stand-alone Education Forum subscribers.) Revenue from Forum subscriptions is up slightly from FY04 at this time. The most popular Forum is the Singer Forum with over 1,000 subscribers (including both add-on and stand-alone). The fastest-growing Forum is the Tech/Production Forum whose numbers have doubled this fiscal year.

Affiliate/Library Membership Renewal Rate (combined Affiliate and Library): (FY05) 79.3% (past 12 months) 79.9%

The FY05 rate renewal is up considerably since the December report. Efforts to make telephone contact with lapsed members has continued to have positive effect since that time, and anecdotal evidence would still seem to indicate that many small-staffed Affiliates are simply overlooking their renewal invoices; more direct and frequent contact will be an ongoing priority. Next fiscal year’s initiative to establish a new Educational Affiliate category will hopefully bring many new members into the fold - including perhaps many long-lapsed organizations with new primary

4.6 contacts who may not have had membership in OPERA America on their radar screens. Affiliates prospected by Membership include: The Atlantic Coast Opera Company (Sickleville, NJ), Connecticut Lyric Opera (New London), Chelsea Opera (New York City), Golden Gate Opera (San Francisco), Coro Lirico (Morristown, PA), Center City Opera Theatre (Philadelphia), Jacksonville Symphony (Florida), Rocky Mountain Opera (Denver), and Lithuanian Opera of Chicago.

Business Membership Renewal Rate: (FY05) 76.9% (past 12 months) 77.2%

The Business Membership renewal rate is up 10% from the last Board report. Businesses renewing their long-lapsed membership in order to exhibit at the annual conference (we have a sold-out exhibit hall) have helped the numbers tremendously and communication of their enhanced benefits initiated this fiscal year has come as a pleasant surprise to most which should encourage them to renew annually. Increased telephone contact to lapsed businesses has proven key in success with this category.

– Prepared by Harv Wileman, Membership Manager, and Sara Strother, Development Director.

4.7 INDIVIDUALS, AFFILIATE, AND BUSINESS MEMBER REVENUE (FY04 and FY05)

CATEGORY Current Current Members Members YTD FY05 YTD FY04 FY05 FY04 Members Members Paying Dues Paying Dues Revenue Revenue Goal Year-End YTD FY05 YTD FY04 (3/31/04) (12 month) (12 month) (3/31/05) (3/31/05) (3/31/04) as of 3/31/05 as of 3/31/04

Individual 1,209* 1,315* 795* 783* $43,733** $42,327** $75,376 $62,132

Affiliate 123 131 74 72 $14,800 $14,500 $30,889 $32,829

Library 53 44 42 36 $6,350 $5,520 $7,529 $7,710

Business 72 97 52 43 $13,350 $10,750 $15,655 $15,750

TOTAL 1,457 1,587 963 934 $78,233 $73,097 $129,449 $118,421

* Beginning in FY05, former Premium Memberships have been transferred to the Annual Fund. To more accurately compare member data, donors receiving complimentary memberships have been excluded from FY05 data, and Premium Members have been excluded from FY04 data.

**FY05 Individual Revenue contains $7,900 in revenue directed to Membership from the Annual Fund to cover the costs of donor benefits. FY04 Revenue has been adjusted to include $50 of all Premium Member dues so as to more accurately compare fiscal year revenue data.

FORUMS Current Current Subscribers Subscribers YTD FY05 YTD FY04 FY05 FY04 Subscribers Paying Dues in Paying Dues in Revenue Revenue Subscribers Goal Year-End FY05 FY04 (3/31/04) (12 month) (3/31/05) (12 month) (3/31/05) (3/31/04) as of 3/31/04 as of 3/31/05

Singer 375 405 236 248 $7,410 $7,601 $12,131

Education 38 39 22 24 $820 $920 $1,540

New Works 84 84 49 49 $1,540 $1,550 $2,740

Technical/ 36 13 26 13 $890 $490 $850 Production

TOTAL 533 541 333 334 $10,660 $10,561 $19,332 $17,261

4.8 MEMBERSHIP RENEWAL STATISTICS (FY04 and FY05)

FISCAL YEAR TO DATE (FY04 & FY05)

CATEGORY FY05 YTD FY05 YTD FY05 YTD FY05 YTD FY04 YTD FY03 YTD FY02 YTD Renewed RENEWAL (As of New Lapsed RENEWAL RENEWAL RENEWAL Members RATE Members Members RATE RATE RATE March 31)

Individual 232 572 474 54.7% 60% 57% 58%

Affiliate 10 92 24 79.3% 79% 16% 80%

Business 9401276.9% 82% 62% 78%

TOTAL 251 704 511 57.9%

12-MONTH (FY04 & FY05)

CATEGORY 12 month 12 month 12 month 12 month 12 month 12 month 12 month New Renewed Lapsed RENEWAL RENEWAL RENEWAL RENEWAL Members Members Members RATE RATE RATE RATE (3/31/05) (3/31/04) (3/31/03) (3/31/02)

Individual 352 836 667 55.6% 60% 54% 61%

Affiliate 17 143 36 79.9% 82% 65% 82%

Business 12 61 18 77.2% 84% 66% 79%

TOTAL 381 1040 721 59.1%

4.9 RESOURCE DEVELOPMENT REPORT Submitted by Sara Strother, Development Director and Marc A. Scorca, President & CEO

Purpose The Resource Development Department is responsible for OPERA America’s contributed income from individual and institutional sources. In addition to fundraising, the Resource Development Department also serves OPERA America’s membership through the Development Network and Trustee/Volunteer Resource Center, including the development listserve, articles in Newsline, and the development track at the annual conference.

STATEMENT OF PROGRESS

In FY05, we have been challenged with raising $936,932. Progress to date is as follows:

Goal for FY05 $936,932 Received or Pledged $846,482 (detail on page 5 of this report) Left to Raise $ 90,450

Fiscal Year 2005 has been a busy one for fundraising. As the end of the fiscal year grows closer, we continue to identify sources of potential Annual Fund support.

The OPERA America Board of Directors can play a significant role in our fundraising success by referring us to potential prospects. Please help us to identify and cultivate patrons who may be interested in supplementing their local support with a gift to a national organization, or who may simply be interested in the travel opportunities that are offered through the Ambassador Circle.

Special thanks to those board members who have already recommended prospective individuals, foundations, and corporations. Please continue to direct your suggestions to Marc and/or Sara.

ANNUAL FUND CONTRIBUTIONS As of 3/31/05, the Annual Fund has raised $71,250 in gifts and pledges toward our fiscal year goal of $81,500. Revised revenue projections indicate that we will likely exceed our fiscal year annual fund goal, reaching the $91,000 threshold.

This year’s annual fund goal includes revenue from Board members, Individual donors including Ambassadors, and Premium Members who have been converted to the Annual Fund. Of the total revenue raised to date, $7,500 has been directed to Membership to cover the membership costs associated with donor benefits.

5.1 Board Contributions This year, we hope to achieve 100% participation from our board. Many thanks to the following board members who have already made contributions/pledges.

Patricia Beggs Barbara Leirvik Ian Campbell Charles MacKay Patricia Compton Erie Mills Susan Danis Peter Russell Anne Ewers Marc Scorca David Gockley Kevin Smith Linda Golding Ann Stanke Dennis Hanthorn Mark Weinstein Speight Jenkins

Individual Contributions The third Annual Fund mailing of the fiscal year was mailed in early March. Fred Good, OPERA America Ambassador and Cincinnati Opera Trustee, signed this wave of solicitations in an attempt to appeal to potential donors on a peer-to-peer level and highlight the support and involvement of regional opera companies and their trustees in OPERA America. Thanks also to Barbara Leirvik, Ambassador and Cleveland Opera Trustee, for her continued assistance in soliciting and stewarding Annual Fund donors in her capacity as Chairman of the National Patrons Program.

In an effort to help build the Annual Fund in FY05, we have secured a $25,000 challenge grant from the Ledler Foundation. The grant will match all new gifts and all increased portions of renewed gifts between $1.00 and $5,000 to the Annual Fund at a 1:3 ratio. Of the Annual Fund and Board revenue raised to date, OPERA America is eligible for $12,705 in matching funds from the Ledler Foundation.

In an attempt to capture mailing addresses for our Broadcast News subscriber for solicitation purposes, the Annual Fund ran a special offer throughout February and March in Broadcast News. Subscribers were able to obtain free copy of the Annual Field Report if they sent us their name and mailing address. This effort yielded only 143 requests. These subscribers will be added to the next annual fund solicitation in May. We continue to look for creative ways to capture addresses from the over 13,000 current Broadcast News subscribers. Please let Marc or Sara know if you have suggestions.

Annual Fund donors will be acknowledged at a special donor reception at Opera Conference 2005 on Friday, May 6th.

Ambassador Giving As we have reported throughout the fiscal year, the Ambassadors Circle Program has been rolled into the Annual Fund this year, allowing us to extend the giving levels of the Annual Fund to include donors beyond the $1,000 level. While Ambassadors will notice no change to their benefits or the method in which they are renewed, revenue from Ambassadors will now be applied to the Annual Fund goal.

5.2 Since July 1st, $40,021 in revenue from Ambassadors has been received. Currently, there are 38 active Ambassadors, including: Anonymous Ronald and Barbara Leirvik* Patricia Beggs* David and Lucy Levy Ken and Marlene Brand Sally Levy Ian and Ann Campbell* George and Frayda Lindemann Patricia Compton* Charles MacKay* John Conklin* Eloise McEldowney Daniel and Mara Cohen David Mesker Susan Danis* William and Susan Morris Carol and David Domina Lee and Cokie Perry John Drabik Edward and Nancy Rosenthal Margaret Genovese Peter Russell* Lloyd and Mary Ann Gerlach Irwin and Roberta Schneidermann Fred and Valeria Good Marc A. Scorca* Robert and Suzanne Hasl Edward and Jacqueline Silberstein Pamela Hoiles Thomas E. Terry Hod and Cassandra Irvine Janet Weakley Todd Jaffe Mark Weinstein and Susanne Marsee* Speight Jenkins* Mr. and Mrs. William W. Winspear Elise Kirk David Kleinfeld * = board member

Many of our Ambassadors have been identified through their affiliation with our member opera companies. The following affiliations have been identified among our Ambassadors:

Boston Lyric Opera New York City Opera Lee and Cokie Perry Ann Meschery Hod and Cassandra Irvine Irwin and Roberta Schneiderman

Cincinnati Opera Opera Omaha Fred and Valeria Good Carol and David Domina Bob and Suzanne Hasl Edward and Nancy Rosenthal Opera Theatre of Saint Louis Edward and Jacqueline Silberstein David and Lucy Levy Sally Levy Dallas Opera David Mesker Mr. and Mrs. William B. Winspear Janet Weakley

Florentine Opera Orlando Opera Mary Ann & Lloyd Gerlach Dr. Todd Jaffe

Madison Opera Pittsburgh Opera Thomas Terry Ken and Marlene Brand

Metropolitan Opera Santa Fe Opera George and Frayda Lindemann William and Susan Morris

5.3 Ambassador Travel

Planning for 2006 Ambassador travel has begun. In the fall of 2006, we plan to honor Mozart on the occasion of the 250th anniversary of his birth with a trip to Salzburg, Austria. Working with the esteemed Salzburg Seminar, we are putting together a five-day visit to Mozart’s birthplace that will feature presentations and discussions about the composer, a tour of this exquisite city and, of course, a number of performances. Most special, programming will take place at the extraordinary Schloss Leopoldskron – the private 18th century palace that was more recently the home of Max Reinhardt and was used as the basis for several scenes in the movie, The Sound of Music. (Ambassadors proceed to Vienna.)

The trip is limited to 45 travelers. OPERA America anticipates using 15 places for members of its Ambassador Circle and extending up to 30 places to patrons of our member companies. Many of our member companies already plan trips and would appreciate occasional assistance in planning and managing these programs. Other companies do not have a critical mass of travelers but would like to be able to offer this benefit to their patrons who would enjoy it. We are in the process of finalizing the itinerary and basic pricing and would be delighted to share more details with you. Please contact Marc or Sara with inquiries about this trip.

Ambassadors in attendance at Opera Conference 2005 (as of April 15, 2004) • Ronald and Barbara Leirvik • Lloyd and Mary Ann Gerlach • Robert and Suzanne Hasl • E. Lee Perry • Fred Good

Special events scheduled for Ambassadors at the conference include a tour of the Detroit Opera House, a tour of the Detroit Institute of Arts, and a VIP reception following the Host Company Reception.

We are also pleased to report that we have had an very strong response to the pre-registration for the August 2005 Ambassador trip to Seattle. In an effort to cultivate new Ambassadors, this trip has been opened to donors of $250 and up. Currently, 26 individuals have pre-registered for this trip including 8 donors at giving levels below $1,000. Full registration packets including itineraries for this trip were mailed prior to the Conference. Registration for this trip closes on May 30th.

5.4 GRANTS

Received Since the Last Report The Ann and Gordon Getty Foundation $6,500 toward general operating support

National Endowment for the Arts $30,000 for the planning phase of the Great American Voices project

Proposals Pending Andrew W. Mellon Foundation Proposal for $25,000 in discretionary funding for NYC relocation

Fidelity Foundation Proposal for $50,000 to support NYC relocation pending

Booth Ferris Foundation Proposal for $200,000 to support NYC relocation pending

National Endowment for the Arts Proposal for $109,000 for the implementation of the Great American Voices project

Proposals In Progress Irvine Foundation & Packard Foundation Expanded funding for San Francisco Bay Area Services

Hallmark Foundation Funding for regional services in partnership with Lyric Opera of Kansas City

Rockefeller Brothers Fund Proposal for $50,000 to support NYC relocation in process

Columbus Foundation Funding for regional services in partnership with Opera Columbus

Jerome Foundation Funding for an Artistic Services Co-Commissioning Handbook

Reports Submitted The William & Flora Hewlett Foundation Progress report on The Opera Fund

The Andrew W. Mellon Foundation Progress report on The Opera Fund

5.5 Proposals Declined There have been no proposals declined since the last report.

CONFERENCE SPONSORSHIP Michigan Opera Theater has secured sponsorships totaling $30,000 from the following companies for Opera Conference 2005: Solomon Friedman Advertising, PetFreedom.com, Communications Counselling Service, St. Joseph’s Mercy of Macomb, Royce Music Distribution, Al Long Ford, and Lanzo Construction.

In addition, $14,800 in sponsorships as well as a number of in-kind sponsorships have been secured through OPERA America:

United Scenic Artists:$2,500 for Artistic Network luncheon sponsorship Schuler Shook:$5,000 for Annual Business Luncheon sponsorship DCM Telemarketing and Telefundraising for the Arts: $5,000 for Marketing Track sponsorship Artsmarketing Services, Inc.: $1,500 Coffee break sponsorship Opera News: $800 for general conference sponsorship Staples Foundation for Learning: In-Kind donation of Conference Program Book Binders Dykema Gossett, PLLC: In-Kind sponsorship for legal assistance Charles H. Wright Museum of African American History: In-Kind sponsorship use of space

5.6 CONTRIBUTIONS RECEIVED OR PLEDGED TO DATE

Source FY05 Pledged/ Notes Goal Received

Government Grants:

NEA Capacity Grant $100,000 $100,000 For Information Services and publications

NEA Cornerstones Grant $10,000 $10,000

NEA Co-operative Grant $199,650 $199,650 Opera Fund

NEA American Masterpiece $50,000 $30,000 Opera Initiative to Military Bases

Foundation Grants:

The Getty Foundation $6,500 $6,500 unrestricted (renewal)

Hewlett Foundation $35,000 $35,000 Bay Area Initiatives (renewal)

Target Foundation $35,000 $35,000 Opera World Expansion (renewal)

Fidelity Foundation $50,000 pending NYC relocation planning (new)

American Express Foundation $35,000 $35,000 Audience Research Evaluation (renewal)

Mellon Foundation $135,000 $135,000 Information & Online Services (renewal)

Hearst Foundation $55,496 $55,496 Music! Words! Opera! (renewal)

Whitaker Foundation $7,443 $7,443 Fellowship wrap-up

Pew Charitable Trust $81,343 $81,343 PARC wrap-up

Corporate Sponsorship:

Conference Sponsors $40,000 $44,800 $14,800 OA / $30,000 MOT

Singer Workshop Sponsors $15,000 $0 Workshop canceled

Annual Fund Contributions:

Board Members & Individuals $81,500 $71,250 includes matching funds from Ledler TOTALS $936,932 $846,482

5.7 REPORT OF THE COMMITTEE ON DIRECTORS NOMINATING REPORT May 2005

I. Current Status: Board Members

A. The Board currently includes 17 general directors, 6 members-at-large, and the President/CEO (ex officio), as follows.

1. Charles MacKay Level 2 Central 2. Claire Hopkinson Level 4 Canada 3. Speight Jenkins Level 1 Northwest 4. Paul Kellogg Level 1 Northeast 5. Patricia Beggs Level 2 Northeast 6. Ann Stanke Level 3 Central 7. Patricia Compton Level 4 Northeast 8. Susan Danis Level 2 Southeast 9. David Devan Level 3 Canada 10. Anne Ewers Level 1 West 11. Dennis Hanthorn Level 2 Southeast 12. Peter Russell Level 2 West 13. Kevin Smith Level 2 Central 14. Robert Swedberg Level 3 Southeast 15. Joseph Volpe Level 1 Northeast 16. Willie Anthony Waters Level 3 Northeast 17. Mark Weinstein Level 2 Northeast 18. John Conklin, designer Northeast 19. Linda Golding, consultant Northeast 20. Barbara Leirvik, trustee Northeast 21. Janice Mayer, manager Northeast 22. David McIntosh, consultant Northeast 23. Erie Mills, soprano/teacher West 24. Marc A. Scorca

Note: In the course of the year, two Board members resigned. Members of the Committee on Directors and Board express gratitude for their service on the Board and look forward to their continued active participation as members of OPERA America.

1. Ian Campbell, due to schedule conflicts that make it impossible for him to attend board meetings. 2. Michael Ching, due to his commitment to refocus his work as artistic director of Opera Memphis and as a composer. (He has given up the position of General Director at Opera Memphis.)

6.1 B. The following Board member are required by the OPERA America by-laws to rotate off the Board for at least one year, as of the conclusion of this Annual Conference. Members of the Board and staff have expressed their tremendous appreciation of the unique and profound contribution that each of these members has made to the work of OPERA America.

1. John Conklin 2. Linda Golding 3. Kevin Smith

C. The following members will have to resign from the Board as a result of their departures as General Directors of their respective organizations. Once again, we are deeply grateful for all they have done to add to the vitality of OPERA America and the field.

1. Ann Stanke, Madison Opera 2. Claire Hopkinson, Tapestry New Opera Works

D. The following Board members are eligible for re-election to another three-year term in May, 2005. Members of the Committee on Directors are unanimous in recommending them to another 3-year term.

1. Patricia Compton, Opera North (Trish will retire at the end of next season.) 2. Robert Swedberg, Orlando Opera 3. Joseph Volpe, Metropolitan Opera (Joe will retire at the end of next season.)

II. Recommendations for Election to the Board

Based on the assumption that the board members who are eligible for re-election will be re-elected, members of the Committee on Directors recommend the following candidates for election to a three-year term as members of the Board.

A. General Directors

1. Karen Stone, General Director, The Dallas Opera. Level 1 2. David Baile, General Director, Opera Atelier, Toronto. Level 3 3. Brian Dickie, General Director, Chicago Opera Theater. Level 3 4. Chris Mattaliano, General Director, Portland Opera, Level 2 5. William Powers, General Director, Berkshire Opera Company. Level 4 6. Diane Wondisford, Producing Director, Music-Theatre Group, New York. Level 4

B. Members at Large

1. Catherine French, Catherine French Group (executive recruitment), Washington, D.C. 2. Libby Larsen, Composer. Minneapolis 3. Allen Moyer, Scenic Designer. New York

6.2 III. Slate of Officers

Due to the departure from the Board of Claire Hopkinson (Vice Chairman) and Ann Stanke (Secretary), several new officers are proposed. In addition to the departure of Claire and Ann, the leadership transition at Cincinnati Opera has made it difficult for Patty Beggs to serve as Treasurer of the Board. Accordingly, the following slate of officers is recommended for election:

A. Chairman Charles MacKay (entering the second year of a two-year term) B. Vice Chairman Diane Wondisford (one year term) C. Vice Chairman Speight Jenkins (entering the second year of a two-year term) D. Vice Chairman Paul Kellogg (one year term) E. Treasurer David McIntosh (one year term) F. Secretary Susan Danis (one year term)

6.3 PROPOSALS FOR EXPANDING OPERA AMERICA’S LEADERSHIP STRUCTURE April 2005 The following proposals for establishing support Councils and Committees emerge from the confluence of recent Board and Committee discussions. The proposals include a general framework for OPERA America Board meetings, as well as a more specific outline for upcoming meetings.

Proposal 1: Establish Advisory Council Purpose: Build the intellectual capital of OPERA America, extend the contacts of OPERA America, and involve industry leaders who would not otherwise be eligible for, or interested in, serving on the OPERA America Board. In light of the challenges faced by many of our companies, (declining subscription sales, declining audiences, significant deficits, potential loss of the Met broadcast) and the opportunities presented by new technologies, there is mounting pressure to engage the best possible thinkers to address the most important issues. Further, the inclusion of young and promising administrators on the Advisory Council could provide them with valuable exposure to some of the best thinking and thinkers in the field.

Examples of Members: Robert Marx, Catherine Maciariello, Matthew Epstein, Plato Karayanis, Lotfi Mansouri, Joe Volpe (after his retirement), Sarah Lutman, Michael Bronson, Stan Davis, Marilyn Horne, Richard Gaddes, James Ireland, Tod Machover.

Frequency of Meetings: Once annually, in New York, in conjunction with an OPERA America Board Meeting. (Advisory Council members would also be recruited as speakers and panelists for Annual Conferences.)

Format of Meetings: Facilitated discussion about a specific topic(s), prepared in advance with articles, launched by a “keynote” presentation. Some staff and Board members would be invited to participate in discussions, depending on the topic(s). Other OPERA America staff and Board would be encouraged to attend as “auditors.” A report of the Council would be presented to the Board. The schedule would include performances and special events.

Suggested Term: Advisory Council members would be invited to serve for one-year renewable terms.

Suggested Contribution: None, although select members of the Council would be solicited for Annual Fund gifts.

6.4 Proposal 2: Establish Trustees Council Purpose: Develop a network of leadership trustees who would benefit from learning from peers and who could contribute to OPERA America’s collective understanding of issues related to governance. The weakness of many opera companies today is rooted in the weakness of their Boards. OPERA America must intensify efforts to build the skills of trustees to lead our companies through challenging years. Further, engaged trustees can provide significant financial support for the work of OPERA America – especially important as foundation and corporate support for the national service organizations declines.

Examples of Members: Karl Mills (San Francisco Opera), John Pohanka (Washington Opera), Susan Baker (New York City Opera), Susan Morris (Santa Fe Opera).

Frequency of Meetings: Once annually, in conjunction with the non-New York/non-Conference Board Meeting, wherever it may take place.

Format of Meetings. Moderated discussion about a specific topic, prepared in advance with articles, stimulated by a formal “keynote” presentation. OPERA America staff and Board members would be invited to participate in discussions, depending on the topic. Other OPERA America staff and Board would be encouraged to attend as auditors. A report from the Council would be presented at the Board meeting. The schedule would include performances and special events.

Suggested Term: Trustees Council members would be invited to serve for one-year renewable terms.

Suggested Contribution: Minimum gift of $1000 with personal solicitation at higher levels.

6.5 Proposal 3: Formalize Network Chairs Purpose: Gain the expertise and feedback of senior staff members from each of the primary speciality areas in opera administration in relation to OPERA America services and their effectiveness in responding to the most pressing needs in the field. In so doing, extend the “ownership” to a larger network of members – especially senior staff at Level 1 and Level 2 companies who feel detached from OPERA America. Current network chairs include:

Artistic: Susan Ashbaker, Opera Company of Philadelphia Education: Nicolas Reveles, San Diego Opera Administration: Kelley Tweedale, Seattle Opera Singer Training: Diane Zola, Houston Grand Opera Marketing: Jim Fullan, Portland Opera Development: David Shiefsek, Vancouver Opera Tech/Production: Paul Horpedahl, Santa Fe Opera

Frequency of Meetings: Once annually, in conjunction with the Annual Conference, and at other times via telephone conference call. Network Chairs would be invited to attend the Conference Board Meeting, as initiated in Pittsburgh. A report from the Network Chairs would be presented at the Board Meeting.

Format of Meetings: Moderated discussion to address issues raised by the Network Chairs. Meetings would be attended by appropriate OPERA America staff members.

Suggested Term: Network Chairs are invited to serve for one-year renewal terms.

Suggested Contribution: None, although members would be solicited for contributions to the Annual Fund.

6.6 Proposal 4: Establish New York Committee Purpose: To provide connections to the local cultural and funding community, and to help guide the development and introduction of services that respond to New York members and members from across the country who use OPERA America’s facilities in New York.

Possible Members: Local funders, local patrons, select local members. Mary Sharp Cronson (Peter Jay Sharp Foundation), Lou Miano (Board member of Gotham Chamber Opera and patron of New York City Opera and Met), representatives of the Met and City Opera, Gordon Ostrowski, publisher, artist manager, new works producer. (Caution: May not want to have funders in the same room.)

Frequency of Meetings: Two or three times annually, or as needed to address a particular issue. Meetings would transpire on a stand-alone basis, although members of the New York Committee would be invited to attend special events associated with the annual New York Board meeting.

Format of Meetings: Guided by an agenda of timely issues, facilitated by OPERA America President/CEO.

Suggested Term: Committee members would be invited to serve for one-year renewable terms.

Suggested Contribution: No specific contribution level will be suggested although all members will be solicited for gifts to the Annual Fund.

6.7 Proposal 5: Adjust the typical Board meeting schedule to accommodate meetings of the Councils:

Purpose: To facilitate the scheduling and management of meetings, and ensure the highest possible level of cross-fertilization, meetings of the Councils should coincide with meetings of the Board of Directors – essentially functioning like super-committees of the Board.

Meeting Outline:

! Thursday afternoon and Friday morning Arrivals in the city

! Friday morning Arrivals continued Individual meetings, as appropriate

! Friday afternoon/evening Council Meeting Begins Council Dinner Performance - if applicable

! Saturday - all day Council Meeting Continues and Concludes Board Committee Meetings (afternoon) Board of Directors Dinner with Council Members Performance - if applicable

! Sunday - morning, ending at 12:00noon Board of Directors Meeting

FALL WINTER MEETING SPRING MEETING MEETING Location Varies New York Varies Special Trustees Council Advisory Council Network Chairs Constituency (New York Committee) Committees Standard Standard Only as Needed Board Standard Standard Standard Meeting

6.8 Proposal 6: Plan Joint Board Meetings with Opera Europa, including participation in an International Opera Conference in Paris

Opera Europa has been invited by the very highly-placed President of FEDORA (association of opera company patrons) to plan an International Opera Conference in Paris in March 2007. This would include Opera Europa, FEDORA and RESEO, the separate association for opera education personnel. They would like to have some level of participation from OPERA America.

In the context of my suggestion for a pair of reciprocal joint Board meetings – to which Opera Europa is enthusiastically receptive – we have thought that the first joint Board meeting would take place in Paris in March 2007 as part of this International Opera Conference.

Accordingly, I suggest the following Board meeting schedule over the next three years:

! Spring 2005 - Detroit in conjunction with the Opera Conference

! Fall 2005 - San Francisco

! Winter 2006 - New York

! Spring 2006 - Seattle in conjunction with the Opera Conference

! Fall 2007 - Washington, DC - hosted by Washington National Opera (if they actually re-join)

! Winter 2007 (March) - Paris, in conjunction with the International Opera Conference, joint board meeting with Opera Europa

!* No Board Meeting held at the Opera Conference in Miami.

! Summer 2007 - Sante Fe

! Fall 2007 - Chicago?

! Winter 2008 - New York, joint board meeting with Opera Europa.

! Spring 2008 - Denver, in conjunction with the 2nd National Performing Arts Convention

! Fall 2008 - TBD

6.9 ADMINISTRATIVE & OPERATIONS REPORT

Creation of an Employee Handbook Debra Harrison revised OPERA America’s Personnel Manual, last updated in 1999. The revisions include establishing an exempt/non-exempt policy; and updating harassment and office equipment procedures.

Diana Hossack and Harrison worked together to created position descriptions for current and future positions. The template includes a departmental and position overview, responsibilities — covering specific duties as well as roles with finances, conference, board, and membership; the evaluation process, salary and compensation issues, and general skills. These will be updated on an annul basis as part of the staff review process. The format of the description allows for a complete job listing or a standardized brief listing for job ads.

These documents were combined to create the beginning of an OPERA America employee handbook. The completed book now includes staff contact information and biographies, emergency evacuation procedures, OPERA America’s Strategic Plan, and basic information about the organization’s programs and services. It is a helpful resource for our current staff, but will prove most helpful as an orientation tool for new staff.

Staff Support Committee Still Active OPERA America’s Staff Support Committee continues to be active. Created to promote and foster a positive and healthy work environment, the Committee has recently been collaborating with Debra Harrison to establish standardized procedures — or best practice guidelines — for the recruiting and hiring process, orienting staff, and employee/employer separation practices.

Upon conclusion of the conference, the Committee will focus on change management issues relevant to OPERA America’s upcoming move which effects everyone on staff in one way or another.

Submitted on April 26, 2005 by: Debra Harrison, Director of Finance & Operations and Diana Hossack, Managing Director

7.1 ARTISTIC SERVICES REPORT

Great American Voices - New NEA/OPERA America Collaboration OPERA America has entered into a cooperative agreement with the National Endowment for the Arts to assist in the planning of a new national opera initiative — Great American Voices: Young Artists Performing Opera and Broadway Classics. This program offers institutions financial support to present young artists at military installations across the country, plus open doors for potential audiences from the military bases for future mainstage performances. The materials that OPERA America is creating will expand the content on Opera World.com. The entire initiative in sponsored by Boeing.

The NEA will serve as the grantor. In the initial stages OPERA America is to help shape the program and support materials. Subsequent to grants being awarded, OPERA America will serve as the conduit between the NEA and the military bases as required.

This winter OPERA America convened a conference call with singer training administrators to gather ideas from which the NEA created the grant guidelines. During the course of Opera Conference 2005, the NEA will adjudicate the applications received and present an overview session on this program to interested professionals.

Currently, OPERA America is working with Nicolas Reveles, San Diego Opera’s director of education, on the script for a CD that will be narrated by Endowment Chairman Dana Gioia and will be offered as an audience development tool for military audiences. OPERA America is also gathering informational materials on the 30 masterworks of opera and musical theater from which participating opera companies will select repertoire. Materials will be available for distribution to adult and young audiences attending performances.

OPERA America is working with Andy Weiskoff, designer, on the development of all national and promotion materials, including CD, educational booklet, banners, flyers, and Web site. This initiative will be launched in late September, 2005 in a ceremony at the NEA.

The Opera Fund to Release Guidelines The status of Opera.ca’s parallel program, The Canadian Opera Creation Program, is in question for this granting cycle. The Canada Council for the Arts provided Opera.ca with a $1.5M grant to award $500,000 annually to Canadian applicants in all three categories — Repertoire, Audience, and Artist Development Awards. This was to allow Opera.ca a chance to present a full array of Canadian awards while building a national endowment for future cycles.

This three year gift ended with the 2003-2004 round, and as of yet fundraising has not begun for the proposed endowment. Opera.ca has returned to Canada Council requesting another grant for two years. Until such time as Canada Council announces its intentions to support this program again, The Canadian Opera Creation Program will be on hiatus and will not release any grant guidelines.

OPERA America will release the guidelines for the 2005-2006 round of The Opera Fund in July.

7.2 The deadline for the Intent to Apply is September 9th, and the final application is due October 3rd. Opera Fund applications will be adjudicated in November, announced in December, and funds will be available in January 2006. During this granting cycle, companies will be able to apply for support within the Development category of the Repertoire Development Awards.

This category enables the creators and/or producers to assess and refine a work in progress. The primary intent of this award category is to provide financial assistance for the development of the work and the creative process, although some proposed projects may also serve an audience development purpose. The award may be used to offset creative fees or other costs associated with the development of a new work, including but not limited to, a lab production, a workshop, a reading, or a revision. The Award range is up to $50,000 for Consortium support and up to $25,000 for Sole Applicant support.

New Works Gain Attention at the Conference It wasn’t too long ago that OPERA America was only able to program one new works session at each conference, usually in the smallest room. Last year a track of four sessions about new works played to standing room only crowds in large rooms. This year’s conference will feature producers, publishers, and artists (Michael Albano, Richard Danielpour, Michael Daugherty, Tobias Picker, and Bright Sheng) in three new works sessions:

• Everyone Starts Somewhere: Commissioning an Artist’s First Opera • Conversion Experience: Turning a Topic into Singing Theater • Culturally Specific Operas Are a Bridge to Traditional Opera ... or Are They?

Additionally, the New Works Sampler and the Publishers’ Opera Showcase will return and current ticket sales show that half of the conference attendees have paid to attend each of these events. This is a far cry from the original New Works Sampler, which drew ten people.

Likewise, the Production Showcase continues to draw interest from companies looking for partners for future co-commissioning and co-producing projects. This year the Showcase will feature presentations from Florida Grand Opera, New York City Opera, Opera Omaha, and Portland Opera with six other companies exhibiting rental inventories.

Other sessions created for artistic and technical/production professionals will improve internal collaborations, examine training and retention issues; and cover other important issues:

• Collaborating to Put the “Special” Back into Special Events; • From Academia to Apprenticeship Programs: Partners in Singing Training; • Your Legacy to Leadership; • Be Prepared: Planning for the Unexpected; • Structure Matters: How Real Estate Relates to Your Organization’s Future; • Diversity in Casting and the Quality Question; • Finding Inspiration During Artistic Retrenchment.

7.3 Expanded Perspectives: The Singer/Manager Relationship is Released Hot on the heels of the release of the revised Audition Advice for Singers comes the revised and expanded edition of The Singer/Manager Relationship. Previously, this book featured 39 articles that were repetitive in answering the same three questions: “When do you find management?” “How do you find management?” and “What is the ideal singer/manager relationship?”

The new edition features articles, quotes, and interviews of over 70 university and training program professionals, singers and company representatives, and managers and singer support organizations. The combination of old and new articles now covers a broader range of issues, including location of management, contract and ethics issues, roster transitions, and the relationship among singer, manager, and company.

New articles are authored by: Dorothy Byrne, Mezzo-soprano Carrol Anne Curry, Dean Artists Management James Dietsch, Pinnacle Arts Management Karl Hesser, Sarasota Opera Felicity Jackson, Florida Grand Opera Chantal Lambert, L’Opéra de Montréal Marie-Catherine Lapointe, Boulev’art Susana Meyer, Susana Meyer Management Martha Munro, Munro Artists Management Allan Naplan, Pittsburgh Opera Robert Orth, Baritone Gordon Ostrowski, Manhattan School of Music Phyllis Pancella, Mezzo-soprano Stewart Robertson, Conductor Matthew Shilvock, Houston Grand Opera Karen Stone, The Dallas Opera Diane Zola, Houston Grand Opera

The book begins with a Introduction by Sheri Greenawald, soprano and director of San Francisco Opera Center, and concludes with an epilogue written by Alec Treuhaft, vice president, IMG Artists. The book also includes codes of behavior from important North American organizations, including American Guild of Musical Artists, National Agents and Managers of Performing Arts, and in Canada, Entertainment Industry Coalition.

The cover, designed by Weiskoff, has the look of the new family design of the Singer Career Network publications and feature support quotes from: Matthew Epstein; David Gockley, Houston Grand Opera; Charles MacKay, Opera Theatre of Saint Louis; Janice Mayer, Janice Mayer & Associates; Roger Pines, Lyric Opera of Chicago; and Kim Witman, Wolf Trap Opera.

The resource development team is capitalizing on the release of these two revised publications to promote publication sales and membership.

7.4 Metropolitan Opera and the Singer Career Network Collaborate for the Future Opera Conference 2005 will feature a forum about the state of singer training at academic institutions on Wednesday, May 4, 2005. Co-hosted by the Metropolitan Opera and OPERA America, this gathering of professional opera training program administrators will formalize a discussion that has been taking place in audition halls, theater lobbies, and telephone and e-mail communications for years.

This will be the first of several convenings that will move the field from understanding the current situation and identifying curriculum ideals to creating and implementing solutions, such as making curricula recommendations and building collaborations. Ultimately, recommendations will be presented to the National Association of Schools of Music, the association that accredits universities.

Maintaining Services The Artistic Services team continues to be hindered by open positions. Hiring has been made more complicated by the upcoming relocation to New York. Filling these positions will again become a priority after the conference.

Singers receive Audition Connection, our bimonthly bulletin, and Voices, the singer newsletter. Both of these publications now sport new designs. The look of these singer periodicals is compatible with the new design of Newsline and of other singer publications (Career Guide, Audition Advice, and The Singer/Manager Relationship).

Composers and librettists are enjoying a re-design of In the Works, OPERA America’s online directory of works in progress. Previously a static online publication, In the Works is now searchable by title, composer, librettist, producing company, size of work, source material, and whether or not musical samples are available. This summer OPERA America will take the opportunity of refreshing data to encourage increased membership.

Artistic personnel continue to call upon the Artistic Services team for visa support letters. Opera Conference 2005 will include a round table discussion led by Valentini Simi, San Francisco Opera, about procedures for filing multi-company visas. The Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago believe that, though seemingly cumbersome at first, this process, once mastered, will be more time efficient and result in a cost savings. Information gathered will be posted on the visa support page on OPERA America’s Web site.

Technical/production professionals continue to take advantage of the Online Production Directory, which is updated quarterly. This online service will soon include a standardized costume measurement form that can be downloaded by organizational members. Members also receive the News Digest, which is an annotated bibliography of relevant articles featured in various trade publications, and Opera Conference 2005 will host a meeting with the Technical/Production Committee.

Diana Hossack also continues to maintain a presence at related events, sharing information about the opera field and OPERA America. This winter she spoke at Opera Europa’s conference in Valencia, Spain, and The Mannes School of Music.

Submitted on April 26, 2005 by Diana Hossack, Managing Director

7.5 EDUCATION & AUDIENCE RESOURCES REPORT

Services to the General Public

A. OperaWorld.com/Distance Learning

We have been exploring several different scenarios which would allow us to continue this program at a low cost. The decision has been made to re-use some of the courses that have already been written, and enhance them with more audio and visual content. We will offer the courses at times that coincide with our companies’ performances of these works, and will offer them the opportunity to offer the course to an unlimited number of patrons for a nominal fee. A schedule of course offerings for the 2005-06 season beginning in September will be released in June.

B. Cornerstones

1. Current Projects

With support from the Target Foundation, we were able to expand this project to include the top 20 most frequently performed works, with written content and visuals provided by David Sander of Minnesota Opera. Cornerstones offers synopses, biographies, background articles, production photos and other visuals, annotated bibliographies, suggested listening and viewing and other tidbits of information. This information is supplemented by audio clips from Opera Company of Philadelphia.

With renewed support from the Target Foundation, we are working with Minnesota Opera to develop additional materials for Cornerstones that are geared towards high school students and teachers. These materials will include study guides, lesson plans, and other activities geared towards this audience.

We have also received a grant from the National Endowment for the Arts to work with Sarasota Opera to build a content area related to Cornerstones that will feature information on the works of Giuseppe Verdi. This content area will feature written articles, production photos, audio clips and interviews, and possibly video clips as well.

By the next board meeting, we will have developed and begun to implement new strategies to build member interaction with OperaWorld.com. In the interim, we will also explore the potential of working with the MPR Classical Music Initiative to link radio stations that broadcast opera in some fashion to the enrichment material available at OperaWorld.com. We will also be exploring a relationship with the recording label Naxos to add additional audio content to Cornerstones.

7.6 2. Multi-media Enhancements

We are pleased to announce that the Cornerstones pages have received a facelift. The newly re- designed web pages can be found at www.operaworld.com/cornerstones and allow visitors easier navigation through the content, as well as new colors and graphics.

We have received audio clips from Opera Company of Philadelphia for seven works featured in the Minnesota Opera collaboration on operas 11-20. These will be uploaded after the conference and should be available for listening by June.

We have been conducting a series of audio interviews with singers, directors, and other creative artists, getting their perspective on the works included in Cornerstones. Interviews will began in February and will continue through June. We will upload the audio files, so that visitors to Cornerstones can get a unique, in-depth look at these works from the perspective of the creative artist and performer. So far, interviews have been completed with Elizabeth Futral, Aprile Millo, Samuel Ramey, Jim Robinson, and Neil Shicoff. Our thanks to Peter Russell, and Norman Pellegrini for their fantastic work as interviewers- they were able to work with these artists while they were in residence at Opera Colorado, and Lyric Opera of Chicago and conduct short interviews at convenient times for the artists. We would welcome the opportunity to work with other member companies in this manner- any general directors interested in conducting artist interviews for OperaWorld.com should contact Andrea Johnson at [email protected].

MUSIC! WORDS! OPERA!

A. Summer Workshops

The 2005 M!W!O! workshop schedule is set. We will have six week-long workshops taking place in the months of June and July. Two of our typical host sites have asked to take a one year hiatus from the program due to financial constraints, but we look forward to bringing them back to the fold in 2006.

B. Program Development

The February 2004 meeting of National Trainers sparked many suggestions for developing and refining the M!W!O! curriculum. With money from the Hearst Foundation, we have undertaken several smaller projects to be completed by the end of June, with the goal of giving the M!W!O! program more flexibility. These include a written manual documenting the teacher training process, development of a written policy for training new trainers, an outline for the creation of new Listen and Discover units, and the creation new and expanded web site with information about M!W!O! The new and improved version of M!W!O! will be unveiled at a breakfast for education specialists and other interested conferees on Friday morning. Board members who are interested in attending this event are welcome to do so. Contact Andrea Johnson for details. We are excited about the changes that have been made, and hope that the added flexibility to this program will make M!W!O! a viable option for a larger section of our member companies.

7.7 C. Future Projects for M!W!O!

Other ideas to be addressed as part of the redesign are the development of new promotional materials for the program, and exploring the possibility of partnerships with colleges and universities. We are in the beginning stages of developing a partnership with Coastal Carolina University in South Carolina, where the college will collaborate with their local symphony orchestra and schools to present a modified version of the Level III curriculum, which will include student produced work, and a collaborative performance of Candide presented by the college and the symphony. The driving force behind this project is Lynn Franken, the Dean of Arts and Sciences at Coastal Carolina, who has a long history of involvement with M!W!O! through Indianapolis Opera. More details will be ironed out in the coming months. In addition, a pilot program using elements of M!W!O! was begun at Allegheny College’s summer music program last summer and was deemed a great success. These models can provide us with valuable learning as we look to re-envision the variety of ways and settings in which the program can be used.

D. Planned Promotional Campaign

The next phase of the program development campaign will be to develop promotional strategies for the program. These will include the creation of a brochure that details the changes that have been made to the program, and a postcard that will direct people to visit the new web site to learn more about the program. The audience for the brochure will be potential opera company partners, while the postcard will be targeted toward teachers. We will obtain mailing lists of teachers from such organizations as Music Educator’s National Conference. We will follow up with opera companies who have expressed interest with detailed information packets and phone consultations.

Core Services

A. New Since the Last Board Meeting

1. Education Survey

The 2004 Opera Education Survey Report is nearing completion and will be released in late May. The executive summary from this report will be featured in the June Newsline and indicates that opera education remains strong. Many of the figures are consistent with last year’s numbers in the same categories. It is good to know that the numbers are not declining.

For the first time this year, we are implementing a constant sample group when comparing to data from previous years. Since survey participation is optional for companies, unlike the POS, different companies respond each year. Implementing a constant sample group allows us to accurately compare to prior data. It should also be noted that the constant sample group contained 49 of the 60 companies that submitted information for this year’s survey, so it is a strong data set. A copy of the executive summary is attached to this report.

7.8 2. 2005 Conference

There will be strong Concurrent sessions for education personnel. We will explore how different forms of media can be used for audience development, how opera companies can work to ensure artistic quality in educational performances, and in the education breakouts, we will address strategies for education departments developing long-range plans as well as current issues affecting the field. In addition, the diversity sessions promise to bring many exciting topics and ideas to our discussion. We have several interesting speakers, many of whom are from outside the field and who can bring a unique perspective to our conferees.

The awards breakfast on Sunday, May 8 promises to be an exciting event. At this point, we will have a representative from all the Bravo Award winners in attendance. Winners include:

• Opera Theatre of Saint Louis, Success Award for Dream of the Pacific • Knoxville Opera, Success Award for Rossini Festival • Colorado Public Radio, Spotlight on Opera Award for support of Central City Opera and Opera Colorado • Monsanto Fund, US Business of the Year for support of Opera Theatre of Saint Louis • Scotiabank, Canadian Business of the Year for support of Opera Atelier

The awards were adjudicated by an expert panel including: Laurie Baskin, Director of Government and Education Programs for TCG; Elizabeth Connell Nielsen, consultant, and former San Francisco Opera PR director; Paul King, Director of Theater Programs for New York City Dept of Education; and Oliver Mosier, Director of Arts and Culture for the William Penn Foundation.

In addition we will honor seven general directors for ten years of service and two general directors for twenty-five years of service, and present one career service award, honoring a retiring General Director who has made significant contributions to the field. Those being honored include:

Ten Year Service Award John Hess, Queen of Puddings Music Theatre Company John Hoomes, Nashville Opera Charles Jarden, American Opera Projects Jay Lesenger, Chautauqua Opera Dairine Ni Mheadhra, Queen of Puddings Music Theatre Company Carol Penterman, Nashville Opera Kathy Tompkins, Pine Mountain Music Festival

Twenty-Five Year Service Award Timothy Vernon, Pacific Opera Victoria Diane Wondisford, Music Theatre Group

7.9 Career Service Award Ann Stanke, Madison Opera

3. Opera Education Database

The Opera Education Program Database has been updated and now features information on 121 programs offered by 20 companies. We are still working to increase submissions from member companies that are not currently represented. The database provides an opportunity to build awareness among members and the general public of the strong education and outreach programs offered by our members. Information can be submitted through our simple web form that can be found at: www.operaamerica.org/edprogramform.htm.

B. On-Going Initiatives

1. Study Guide Lending Library

This continues to be the most popular service offered by the Education Department, and it is a benefit specifically for our member companies. As of the end of April, there were 390 study guides registered in the Library, offering materials on 147 operas. From January through April, 7 companies borrowed 22 study guides from the library. A listing of all study guides in the library is available on the OPERA America website for company staff to peruse before making requests. The list can be found as a PDF file by visiting www.operaamerica.org/edlibrary.htm

2. Online Publications

The winter edition of Education Newslink was sent to company and education forum members in late February. ArtsEd Online continues to be e-mailed on a monthly basis to subscribers to the education listserve.

3. Tried and True Works Lending Library

This resource, which features information and materials on operas for children that can be checked out by company members, continues to grow. We have had success in encouraging composers to submit information about their own works, but would also like to add information about works that are created and presented by opera companies. Member companies can complete registration forms, providing details about casting, sets and other requirements, and also send in materials related to the works, such as audio or video recordings, and score excerpts. The materials are housed at OPERA America and company members are able to sign out the materials about a particular opera to peruse for a specified time period to see if they have an interest in producing the work. For more information, or to obtain copies of the registration forms, e-mail [email protected].

7.10 Partnerships

Crossing Paths

It was decided that the most logical time to host the next Crossing Paths gathering would be in conjunction with the 2008 Convention. In the interim, the members of the planning committee will discuss the possibility of adding a one-day Crossing Paths meeting to the American Symphony Orchestra League’s mid-winter educational meetings in 2006 and look for ways to incorporate cross disciplinary topics and speakers into each organization’s conferences and meetings. As the Convention draws closer, the planners will form a working group of previous attendees to help develop the content for 2008. The planning group intends to re-convene via conference call in the coming months to discuss and action plan for implementing some of the ideas that have been generated.

Submitted by Andrea Johnson, Manager of Education and Adult Learning Programs

The Education and Audience Resources Department has four primary focuses:

1. Core Services to Company Members: To provide updated information and resources about K-12 arts education and lifelong learning to assist opera education professionals in their work.

2. Services to the General Public: To provide enrichment opportunities for K-12 teachers and students, and adult audiences through a variety of print and online resources.

3. Administration and Expansion of MUSIC! WORDS! OPERA!, OPERA America’s comprehensive opera education curriculum.

4. Engaging in Partnerships: To collaborate with both our national service organization counterparts and companies in our membership to advance the field of arts education as a whole. In addition, OPERA America’s Education Manager, Andrea Johnson, is an active participant on the Steering Committee of the Arts Education Partnership, an organization that guides national advocacy efforts for arts education.

7.11 DRAFT

The Numbers Don’t Lie: The Field of Opera Education is Growing Stronger By Andrea Johnson, Education Manager

Opera education professionals frequently hear anecdotal evidence of the strong positive impact their work is having on students, teachers, and opera patrons in their community. But how healthy is the field of opera education as a whole?

Each year, OPERA America administers its Opera Education Survey, which allows company members to report on their educational activities for the previous season. The survey was created in response to the field’s request for more detailed data about opera education, and the information collected allows us to provide a clear snapshot of opera education in the US and Canada.

The 2004 Opera Education Survey was completed by 59 of OPERA America’s North American Company members, and indicates that our field is strong, and continues to grow from year to year. The selected statistics from the report below prove that the future of opera education is bright indeed. These statistics were computed from a constant sample group of 49 companies who completed both the 2003 and 2004 surveys.

Strong Support for Education Through Staff and Volunteers

On average, companies reported having two full time and one part time staff person working solely in education for the 2003-2004 season, indicating that opera companies value the field of education and dedicate the personnel needed to properly implement educational programming. These numbers are consistent with the previous year’s figures, which shows that while opera companies are cutting back due to challenging economic times, that education activities remain an important part of their work.

Of the companies surveyed, 62% reported having a full-time Education Director or comparable position, is a slight increase of 1% from last year. In addition, several Level III and IV companies indicated that education activities were managed by a part-time education coordinator.

During the 2003-2004 season, opera companies surveyed reported that a total of 2,108 volunteers donated 57,255 hours to education programs. This represents a 20 % increase in the number of volunteers from the previous year, as well as a 12 % increase in the number of hours donated, indicating that volunteers continue to play a growing and important role in the work of education departments.

7.12 Consistency is Key in Reaching Out to Audiences

Responding companies’ figures for the total education audience served in the U.S. and Canada during the 2003-2004 season were 3,491,422, which was a slight 5% decrease from the previous year’s figure of 3,674,123. Of the companies that provided audience demographic information, 52% of their audiences were Caucasian, with 20% African American, 13% Hispanic and 14% Asian/Pacific Islander. These percentages are consistent with those from the previous year, indicating there is a consistency that indicates that the trend toward audience diversification is continuing.

Varied Programming to Meet Community Needs

As indicated by Figure 1, opera companies offer a wide range of programming to meet the needs of their community. The most popular types of educational offerings are student performances/dress rehearsals, followed by lectures/discussions, and school performances.

A total of 153 student performances and 152 student dress rehearsals were offered by responding companies during the 2003-2004 season, with an average ticket price of $6 per performance and $4 per dress rehearsal. It should also be noted that 19 of the responding companies responding offered either performances or dress rehearsals free of charge to students.

3,022 performances were presented for students in 3,383 schools, with an average fee per performance charged to schools of $305. When comparing these numbers to the previous years figures, there is an increasing trend in making multiple visits to the same school, allowing students to further engage with opera.

43 of the responding companies presented 762 outreach performances for the community, at an average cost of $3 per ticket. Of those respondents, 28% indicated that they traveled out of state to offer performances to other communities.

Increased Preparation Leads to Informed Audience Members

85% of the companies surveyed offered curriculum materials to accompany their various educational activities. The most popular format for curriculum materials is study guides, but some companies also offer student workshops, CD-Rom’s and teacher workshops to help prepare the audience to attend the performance.

Of the companies that created materials, 49% of the materials met federal education standards, 56% were consistent with state education standards and 59% of the materials were aligned with local education standards. These figures indicate a strong desire amongst opera companies to assist teachers in ensuring their students meet the arts standards set forth at federal, state and local levels.

7.13 Serving Adults as Well as Students

Adults represent a growing segment of audience served, accounting for 13% of the overall education population served, a 1% increase from the previous year.

100% of responding companies offered some form of educational programming for adults. The most popular types of programs included lectures, backstage tours and dress rehearsals. The total attendance at these programs was 272,526 and the average age of those attending was 49.

Working Together Creates Results

Collaborating with other community organizations can provide an opportunity to build audiences, and to gain access to human, financial and informational resources that may not be available to an opera company otherwise, and the survey indicates that most companies are benefitting from these collaborations. 80% of the opera companies surveyed collaborate with other organizations in their communities. Figure 2 lists several types of organizational partners, and the percentage of opera companies who teamed up with them. Collaborations were more abundant in large budget companies. The most frequently found collaborations were with academic institutions at 66%, and symphonies and museums, both at 47%.

The 2004 Opera Education Survey Report, containing these statistics and many others, will be released in June 2005. The 2005 Opera Education Survey will be available online and in paper format in August- we hope you will complete it when it arrives so that we can continue to provide a complete picture of the state of opera education.

7.14 Figure 1

Types of Programming Offered by Opera % of companies Companies offering program Student Matinees and Dress Rehearsals 96% Outreach Performances 75% School Performances 86% Opera Camp 34% Residencies 47% Creating Original Operas 42% Afterschool Programs 26% Student Workshops 51% Teacher Workshops 55% Lectures/Discussions 98% Other 41%

Figure 2

Opera Company Collaborative Partners % of companies collaborating Theater 44% Dance 27% Symphony 47% Museum 47% Academic Institutions 66% Other 27%

7.15 GOVERNMENT AFFAIRS REPORT

American Arts Alliance The American Arts Alliance (AAA) extends a warm thank you to OPERA America-appointed Board member Diane Wondisford. Diane served on the Board for six years – four of which as Chair – during a time of major transition and clarification for the AAA. She looks on that time as one during which we all became more realistic, adroit, and powerful advocates for the arts. We are grateful to Diane for her extraordinary dedication to the AAA and wish her all the best – she will be missed.

National Endowment for the Arts On March 7, President Bush released his FY06 budget. It requested $121 million for the NEA – level funding from the previous year, and included language about grants for Challenge America: Reaching Every Community and expanding the American Masterpieces initiative to celebrate the United States’ artistic achievements with touring programs in dance, visual arts, and music; local presentations; in-school arts education programs; and students visits to exhibitions, presentations, and performances.

On March 10, the House Appropriations Subcommittee on Interior, Environment, and Related Agencies held its first hearing on the NEA’s FY06 funding. NEA Chairman Dana Gioia presented testimony in support of President Bush’s 2006 budget request of $121 million for the NEA. It includes $45,118,000 for direct Endowment grants, $14,922,000 for Challenge America: Reaching Every Community, $30,108,000 for state and regional partnerships, and $8,000,000 for American Masterpieces: Three Centuries of Artistic Genius, a national initiative begun last year. [The majority of the $8 million requested for American Masterpieces appears to be coming from the Challenge America budget, and not from core program funds.]

Although both the President and NEA Chairman have presented formal budget recommendations, it is ultimately the responsibility of Congress to decide how federal funding will be distributed.

The American Arts Alliance submitted written testimony to the subcommittee in support of a NEA budget of $170 million. In the past few months, OPERA America, in accordance with the American Arts Alliance, has visited with over half of the 49 newly elected Members of Congress and is beginning to meet with members of the House and Senate Interior Appropriations Subcommittees, advocating for an increase for the NEA in the FY05 Interior Appropriations bill for the creation, preservation and presentation of the arts in the U.S., American Masterpieces, and the Challenge America initiative.

On April 14, Senators Kennedy (D-MA), Mike Enzi (R-WY), James Jeffords (I-VT) and Norm Coleman (R-MN) sent a letter to their colleagues, announcing the establishment of a new Senate Cultural Caucus “to bring focus to the arts and humanities and the positive impact they have on

7.16 our daily lives. We hope this caucus will highlight the work that our federal cultural agencies – the National Endowment for the Arts, the National Endowment for the Humanities, and the Institute of Museum and Library Services – are doing in all fifty states.” The letter also invites Members of Congress to join the caucus.

As ususal, OPERA America and its national arts colleagues will work with the House of Representatives’ Congressional Arts Caucus to introduce an amendment requesting an increase for the NEA. Further information, updates, and calls-to-action will be communicated to the field as they develop.

Immigration OPERA America, in conjunction with the Performing Arts Visa Task Force (PAVTF), continues to pursue Congressional assistance to push four administrative reforms at U.S. Citizenship and Immigration Services (USCIS) forward:

• Reduce the processing time for O and P petitions filed by, or on behalf of, nonprofit arts- related organizations to a maximum of 30 days, and specify that failure to comply with this deadline automatically moves the petition to the Premium Processing Service for consideration within 15 calendar days, without an additional fee; • Allow applications for O visas and P visas to be filed one year before the proposed employment will begin, which may provide immediate relief to petitioners able to file far in advance; • Update the petition form and instructions for O and P visas, which are outdated and inaccurate; • Implement uniform policies, procedures, and training at USCIS for handling all petitions.

On March 8, the Office of Management and Budget (OMB) approved a proposed interim rule to allow applications for O and P visas to be filed one year before proposed employment begins. The rule is now awaiting signature from the Department of Homeland Security before being posted in the Federal Register for public comment. At that point OPERA America and the AAA and will post a comment in support of the rule and engage members to participate.

On April 26, the Performing Arts Visa Taskforce is scheduled to meet with Department of State Assistant Secretary for Consular Affairs Janice Jacobs. The meeting, to be hosted by the NEA, will provide an opportunity for the PAVTF to explain how the performing arts are affected by processing of visas at U.S. Consulates abroad, and raise questions about procedures for frequent travelers, interviews at multiple consulates, and specific interview requirements.

The following Members of Congress are leading congressional efforts to improve the artist visa process: Senator Arlen Specter (R-PA), Chair of Senate Judiciary Committee; Senators Orrin Hatch (R-UT), Patrick Leahy (D-VT), Saxby Chambliss (R-GA) and Edward Kennedy (D-MA); Representative F. James Sensenbrenner, Jr. (R-WI) Chair of House Judiciary Committee; Representatives; and Melissa Hart (R-PA) and Howard Berman (D-CA).

7.17 Note: as of March 11, USCIS has revised Form I-129 – the form required for all O and P visa petitions for foreign guest artists. The previous version of the form will be accepted by USCIS until April 30. The supporting evidence required for O and P visa petitions has not changed, but petitioners will find some new changes to the Form I-129. Most notably, the visa categories for artists that were formerly identified as O-1 and P-1 are now classified as O-1B and P-1B. For more information and a list of Frequently Asked Questions, go to www.ArtistsFromAbroad.org (also linked from OPERA America’s Web site).

Arts Education For the fifth consecutive year, the President’s budget has eliminated funding for the U.S. Department of Education’s Arts in Education programs, which include model arts collaborations with schools, teacher professional development, and arts programs for at-risk youth. The $35 million Arts in Education program is traditionally added to the Department of Education budget by the Senate and accepted by the House in conference.

OPERA America urges Congress to: • Appropriate $53 million for the Arts in Education programs in the FY06 Labor-HHS- Education Appropriations bill; • Maintain the arts as a core academic subject. As Congress begins the reauthorization process, it must include language that directs state and local education agencies to ensure that all American students reap the benefits of a full, comprehensive education in all core subjects, including the arts; • Fully fund after school learning opportunities through the 21st Century Community Learning Centers program.

Tax Legislation On April 13, the House passed a bill to permanently repeal the estate tax; the Senate has not taken up the bill yet. Those opposed to full repeal hope to be able to pass a bi-partisan compromise instead of full repeal. Senator Charles Schumer (D-NY) is leading Democratic efforts to negotiate a compromise bill. Last year, the House passed a permanent repeal of the estate tax, however the Senate did not vote on the measure before adjourning in December 2004. OPERA America supports Independent Sector’s position: in favor of reasonable reform to the estate tax, but opposed to permanent repeal of the estate tax, because it could drastically reduce giving to charitable organizations. In 2004, the Congressional Budget Office concluded that eliminating the estate tax would result in an estimated 22% decline in charitable bequests. A 2003 Brookings Institute report indicates that repeal of the estate tax would result in a total loss of about $10 billion in charitable giving each year. OPERA America will follow Independent Sector’s lead on strategy with regard to Senate action on this issue.

Over the last four years, President Bush has offered a package to increase charitable giving. In 2003, the Senate-approved CARE Act and the House-passed Charitable Giving Act of 2003 included the IRA rollover and non-itemizer provisions. Both bills passed by overwhelmingly, bi- partisan margins, but partisan differences over House and Senate procedures prevented a House-

7.18 Senate conference at the end of 2003 and all of 2004. As a result, these bills never made it to conference. This year OPERA America urges Congress to:

• Enact charitable incentives identical to the CARE Act that the House and Senate passed in the 108th Congress but never sent to conference committee. As passed by the Senate, the CARE Act provisions would: " enable individuals to roll funds from their IRAs to charity without paying withdrawal penalty; and " allow artists to take a fair-market value deduction for contributions of their own works to arts organizations • Protect and enhance incentives for charitable giving in the event of major tax reform, including tax deductibility for in-kind gifts; • Oppose unnecessary restrictions on charitable governance, such as limiting the number of directors on a charity’s board.

We also urge Congress to make only necessary reforms, not major revisions, to laws affecting charity governance and practice.

– Submitted by Elizabeth LaRocca, Media & Government Affairs Manager April, 2005

7.19 INFORMATION SERVICES REPORT

The Information Services department produces OPERA America’s publications; administers surveys; maintains the Online Season Schedule of Performances database; provides research and reference services to members, the press, and funders; maintains OPERA America’s periodicals and research sources; edits and contributes content to OperaAmerica.org and OperaWorld.com; and collaborates with other internal departments.

With recent staff changes, including the hiring of Research Manager Susanna Beiser, the department has begun to review and refine departmental procedures, increasing internal efficiency and enhancing member service.

Information Services on the Web The electronic newsletter Broadcast News, previously a publication of the Media and Public Affairs department, draws on many of the same sources as Newsline’s “Company News.” Broadcast News and “Company News” are now both written by Susanna.

Susanna has provided an update and expansion of the “regularly scheduled broadcasts” area of OperaWorld.com. The number of listings has increased sixfold and includes a number of broadcasts hosted by OPERA America member companies. This resource, which is unparalleled on the Web, will be highlighted in an upcoming Newsline article.

Kelley is working with IT Manager Kevin Sobcyzk to redesign the Online Season Schedule. The redesign will give more search options (for instance, search by world premiere or composer nationality). It will also allow database maintenance to happen in-house, thus eliminating payments to an outside contractor.

Publications completed between February 2005 and May 2005 •Newsline and E-Newsline (March, April, and May issues) Design and content improvements have been well-received. Staff continue to look for ways to make the publication more lively and informative for opera professionals within current time and budget restrictions. The “Opera of the Month” column, last published when John Church was at OPERA America, has been revived and revised. The column continues to feature historical information on a less-familiar work, usually drawn from Central Opera Survey files. In addition, it now highlights a production-in-progress, and includes viewpoints from artistic directors and artists. Recent features have included Maria Padilla (The Minnesota Opera), Actéon (Opera Atelier), and Winterreise/Sorrows of Young Werther (Long Beach Opera). In June, an article on Gloriana features views Christine Brewer and Gwen Jones, who will sing the title role at Opera Theatre of Saint Louis and Des Moines Metro Opera, respectively, as well as OTSL Artistic Director Colin Graham.

7.20 •Confidential Future Season Survey Report This publication lists productions of nearly 300 different works planned by 104 participating companies. Among them are 10 national premieres and 21 world premieres.

•National Performing Arts Convention “I-DOC” Report The "I-DOC" initiative was designed as a way of capturing key issues and ideas at the first National Performing Arts Convention. Its goals were: To create a record of the "big" ideas that emerged in Pittsburgh and a sense of how those ideas might augment practice and policy in the nonprofit performing arts; to track and capture key issues, challenges, and concerns of performing arts managers, supporters, advocates, artists, and others as they gathered for this historic convening; to test a new model for tracking issues and providing useful feedback to participants in convenings of this kind; and to bring together the academy and the working world of the arts, by applying the skills, methods, and insights of one to the conversations and concerns of the other. It is available online at http://www.operaamerica.org/I-DOC-Complete.pdf

•The 2003 Annual Field Report Enhancements include: new measures of productions, performances, and ticket pricing; consistent presentation of trend data, with figures to make the analysis easier to interpret; ratio analyses to help show relationships between key financial and operational figures; and, for some trend analyses, the effect of inflation.

•Opera Conference 2005 Program In response to a request from a member with impaired vision, a second, large-print version of the program was produced.

•Two Membership Brochures (Singer Publications and Singer Membership)

Publications and surveys in progress •Professional Opera Survey: The deadline to complete the POS was February 25. We expect to publish the POS report in July. At the time of this report, surveys had been completed by 98 of 127 Company Members. Companies that have not yet submitted surveys include:

American Opera Projects Lyric Opera of San Antonio Pine Mountain Music Festival Anchorage Opera Modern Baroque Opera Royal Opera Canada Chattanooga Symphony and Opera Musical Traditions Spokane Coeur D'Alene Opera Encompass New Opera Theatre Nautilus Music-Theater Springfield Regional Opera Gold Coast Opera New Orleans Opera Association Toledo Opera Greensboro Opera Company Opera Delaware Tulsa Opera Hawaii Opera Theatre Opera North Compagnie Musicale La Nef Indianapolis Opera Opera Ontario Eugene Opera Long Beach Opera Opera Theatre of St. Louis Knoxville Opera L'Opera de Montreal Palm Beach Opera

Timely completion of the POS is a requirement of membership in OPERA America; these companies have been notified that they are not eligible to apply for The Opera Fund until they submit their surveys.

7.21 •Labor Statistics Survey: This survey of company experiences with AGMA and AFM is being revived by popular demand. Data will be collected this summer for fall publication.

•Annual Report to Members: This publication, distributed with dues renewal notices, highlights OPERA America’s services to members. It has been suggested that it be combined with Register (below). In addition to providing a more complete answer to “What is OPERA America?,” this combination would result in a cost savings.

•Register/Professional Company Member Directory: The Register provides a broad overview of our membership, with basic contact information for all organizational members and names of individual members. The PCM Directory provides basic contact information for PCMs, plus direct extensions and e-mail addresses for PCM staff. Although there is considerable data overlap in these two publications, previously, data collection was seen as two separate projects. This year, working with membership, we will collect data for both publications at the same time. The publication date has been moved from fall to mid-August, allowing for a “back-to-school” delivery date.

Research Since February, the department fielded numerous research queries from member companies, individuals, and the press. A sampling of topics includes: past and future U.S. Ring Cycles, performing editions for Madame Butterfly and Carmen, biographical information for conductor Franco Paolantonio and Verdian tenor Settimio Malvezzi, permissions for creating CD compilations, the influence of reviews and critical commentary upon the sales of opera recordings, production rights for The Medium, summer opera events in Vienna and eastern Europe, and the prevalence of general directors who also serve on their companies’ boards.

OPERA America occasionally conducts research about repertoire activity (particularly new and national premieres) in a given decade, at a given company, by a certain composer, etc. This research may be used in funding requests, grant reports, benchmarking activities, or articles. Previously, these activities were recorded in discrete narrative or lists, and there were occasionally redundancies of effort. OPERA America has now created a master database for entering such research. Although we continue to enter data only in response to specific requests (for instance, which works premiered at five major international houses between 1890-1900 and 1930-1940), it is hoped that this activity will eventually lead to a comprehensive record, making future research more flexible, rich, and efficient.

Archives Many publications from the early years of OPERA America, including old POS reports and Profiles, exist only in hard copy format, and there are few remaining copies. While many materials created in the last decade do exist in digital format, there is no formal system of organizing these materials. This summer, Kate Ehle will undertake an inventory of OPERA America materials and begin to systematically preserve and catalogue these materials.

7.22 OPERA America has been approached by Cultural Policy and the Arts National Data Initiative (C-PANDA) about digitizing selected data sets, particularly those related to opera companies’ historical finances and operations. (At a previous board meeting, it was agreed that information at least five years old could be made public.) We have also discussed working with C-PANDA to preserve information in the COS files, particularly information related to North American operas. Such a partnership would assist OPERA America in preserving data and make data more accessible for researchers. The future of this initiative is dependent on C-PANDA’s ability to secure funding.

Submitted by: Susanna Beiser, Research Manager Kate Ehle, Publications Manager Kelley Rourke, Director of Publications and Research

7.23 PROFESSIONAL DEVELOPMENT REPORT

Conference Programming in Full Color - Registration Off Opera Conference 2005 will feature a record number of experts new to the opera community. Led by Keynote Speaker Toni Morrison, new speakers will include Ismael Ahmed, Arab Community Center for Economic and Social Services; Beryl Byles, Bridge Consulting Associates; Cristy Coleman, Museum of African-American History; Ken Fisher, University Musical Society; Cheryl Mason, Detroit High School for Performing Arts; Deborah Orlowski, University of Michigan Human Resources Department; Shirley Stancato, New Detroit; leaders of corporate diversity from Ford Motor Company, DTE Energy, and SBC Communications; and many other local leaders from racial and ethnic communities.

A unique component of this conference is the venues OPERA America will use. Sessions will take place at the Museum of African-American History and Saint Anne’s de Detroit, in the heart of the Hispanic neighborhood. Going into communities, seeing exhibits, and interacting with members of the community will provide a depth of learning that sessions alone cannot offer.

Performances emphasize the conference theme. Michigan Opera Theatre’s world premiere of Margaret Garner, will immerse audiences in the heart-wrenching decisions made by enslaved African-Americans. The New Works Sampler will feature excerpts from works funded by OPERA America and that are written about various ethnic and racial communities. New this year will be a showcase of multicultural versions of singing theater highlighting traditional and contemporary traditions from the American Indian, African-American, Armenian, and Arab American communities. Plus, the signing of performances will be demonstrated during this performance.

Opera Conference 2005 will also feature two concurrent session slots that will provide programming for multicultural issues that directly impact the work place, address career development, showcase the importance of relationship building, and look at the future.

• Free to Be You and Me: Respecting Differences in the Workplace; • Initiating Institutional Change Through Board Diversity; • From K to Ph.D.: Attracting a Diverse New Generation of Opera Professionals; • Coming out of the Closet, Again and Again: Does It Ever Get Easier?; • Women: Leadership Material or Not?; • Churches, Bodegas, Community Centers: Making Authentic Connections; • Models of Diversity from the Opera Field and Beyond; • Culturally Specific Operas Are a Bridge to Traditional Opera ... or Are They?; • Diversity in Casting and the Quality Question.

7.24 As the staff of OPERA America are not experts in diversity, host company Michigan Opera Theatre provided a level of participation in the programming never before required. OPERA America is grateful for the introductions MOT provided to people key to the planning process.

Unfortunately, registration numbers are extremely low. OPERA America’s marketing included many firsts — first four color postcard, first four color brochure, first e-mail campaign with design elements, and a first audio web link featuring excerpts from the world premiere. In addition to network letters from MOT and OPERA America staffs, Marc Scorca contacted the majority of general directors encouraging company participation. The primary reason for lack of participation is budget. OPERA America also believes that we are experiencing a lull after the excitement of the National Performing Arts Convention.

It will be important to capture the unique learning of this conference and disseminate via Newsline, the Web site, and other methods. We are already anticipating follow-up sessions for Opera Conference 2006 to maintain a continuity of attention in this important area.

Network Chairs Expand and Formalize Last year OPERA America introduced five new Network Chairs to the Board. Four of the five professionals have been active in counseling OPERA America on the New York relocation, Opera Conference 2005, and gathering ideas for engaging Level I staff members. This spring, four new members were invited to serve, and now all professional specialities are represented:

Artistic: Susan Ashbaker, Opera Company of Philadelphia Development: David Shefsiek, Vancouver Opera Education: Nicolas Reveles, San Diego Opera Finance/Administration: Kelly Tweeddale, Seattle Opera Marketing/Public Relations: Jim Fullen, Portland Opera Singer Training: Diane Zola, Houston Grand Opera Technical/Production: Paul Horpedahl, The Santa Fe Opera

This committee will meet once annually at the conference and via telephone conference calls as required. OPERA America will benefit from senior staff input in developing programs and assessing the effectiveness of services. By involving these leaders we will extend our stakeholders to include a larger network of members, especially senior staff at Level I and II companies, who often feel disconnected.

This group have been invited to attend OPERA America’s Board of Directors meeting and to participate in a lunch meeting with Marc Scorca and Charles MacKay.

Submitted on April 26, 2005 by Diana Hossack, Managing Director

7.25 PUBLIC AFFAIRS REPORT

Media Relations

The Public Affairs department continues to cultivate relationships with the media through its online Press Room at the OPERA America Web site, by responding promptly to media inquiries, providing data for writers, and through the issuing of press releases on the activities in the field and at OPERA America.

Media Contacts Media outlets that have contacted OPERA America since the February Board meeting include:

ACF News Source Akron Beacon Journal The Associated Press The Chronicle of Higher Education Cincinnati Enquirer Detroit Free-Press The Detroit News Detroit Public Radio The Forum (Fargo, NC) Star-Telegram (Fort Worth, TX) Indianapolis Star Minnesota Monthly magazine New York Sun The Tribune (San Luis Obispo, CA)

Recent press inquiries have focused on a number of different topics, including: the commission of new works, state and local government funding of opera, administrative leadership of opera companies, Opera Conference 2005, national opera education initiatives and audiences served, companies’ budget size and financial information, most produced works, and demographics of opera attenders.

Press Releases Press releases issued since the Board meeting in February:

• Opera Conference 2005 • 2005 Bravo! Award winners announced (Success, Spotlight, and Business of the Year)

7.26 Marketing and Public Relations Network

American Express National Audience Development Research Project On February 4-5, OPERA America convened a group of eleven marketing and audience development experts from across the field in Washington, DC for a facilitated review of OPERA America’s National Audience Development Research reports from the last several years. This was made possible due to a grant from American Express. The discussion, led by Sue Dahling Sullivan, analyzed the points of agreement and disagreement among the reports, identified ways the reports can be more useful to member companies, and suggested future research topics.

Participants of the meeting included:

Deb Hruby, Central City Opera Chris Milligan, Cincinnati Opera Catherine Guin, Cleveland Opera Justin Moss, Florida Grand Opera Steve Kelley, Kentucky Opera Susan Mathieson Mayer, Lyric Opera of Chicago Laura Wyss, Michigan Opera Theatre Jim Fullan, Portland Opera Mark Tiarks, The Santa Fe Opera Stephanie Ricks, Seattle Opera Jonathan Harrison, Vancouver Opera

Key research findings:

• The research findings frequently validated local customer segment research and helped to renew awareness and focus on buyer motivations and purchase patterns.

• The research findings played both direct and indirect roles in many opera companies marketing strategies and tactics. While larger companies primarily used the research to support or revise existing marketing strategies, smaller companies used it to shape their plans.

• The research continues to generate a healthy dialogue within the field about its core customers and marketplace potential, what are successful implementation strategies and tactics, and the role of research beyond the marketing function. As important as the findings themselves, the ongoing process of identifying needs, collecting and analyzing data, and assessment has created a forum for the opera field to continually re-evaluate key assumptions, strategies, and applications.

7.27 Opera marketing professionals identified three priorities for the future that would benefit from additional research, analysis, and discussion:

1) Technology: This emerged as the most critical area of interest from the field. It is widely accepted that technology needs to play an important part in current and future marketing campaigns, including but not limited to email campaigns, web marketing, online sales, customer relationship managment systems, etc.

2) Implementation Strategies and Tactics: While the first phase of research focused on the “who” or the customer, the next phase needs to focus on the “how” with implementation strategies and tactics. The value of learning from tangible examples of best practice case studies as well as unsuccessful campaigns was deemed critical for the field to successfully translate the research into results.

3) Audience Retention: An ongoing question remains on why core subscribers and single ticket buyers stop purchasing, what elements are within a company’s control (i.e. repertoire choices, benefits, etc.) and what are beyond (i.e. life cycle changes, economy, etc.), and what strategies are effective in increasing retention rates.

The eleven marketing directors who participated in the February focus group have received a copy of the final report and the Executive Summary was included in the April Newsline.

E-Media Watch The electronic version of Media Watch is distributed via e-mail by OPERA America staff members to various listserves. E-Media Watch provides links to recent articles of interest and value on opera and the arts. Selected articles are included in Broadcast News. Company members are encouraged to submit hyperlinks to pertinent news articles (other than reviews) for consideration to [email protected].

Listserv Recent topics of conversation on the marketing/PR listserv include: buying mailing lists from major media outlets; policies for providing complimentary tickets to the house when performing in a shared facility or performing arts center; distribution of press kits via mail, e-mail and Internet; mother-daughter single ticket promotions; and methods for mailing season brochures and subscription renewals. OPERA America conducted an informal survey among the marketing/PR network on subscriptions and single tickets; 18 companies responded. The findings illustrate a trend away from subscription sales and dramatic increase in last-minute single ticket purchases.

7.28 Opera Conference 2005 Marketing and Public Relations sessions:

• Subscribe Now! Today’s or Yesterday’s Bible? with Jim Fullan, Portland Opera; Susan Loris, Florentine Opera Company; Andrew Goldberg, Florida Grand Opera; James McHugh, TeleUnique McQnications • Meet the Press: The Scoop on Successful Media Relations with Janelle Gelfand, Cincinnati Enquirer, Patrick Dillon, freelance writer and editor; Celeste Headlee, Detroit NPR; Lawrence Johnson, Detroit News; Julie Maslov, Cincinnati Opera • Beyond the Printed Page: Harnessing the Power of Media for Audience Development with Karen DiChiera, Michigan Opera Theatre; Sara Lutman, Minnesota Public Radio; David McIntosh; Allan Naplan, Pittsburgh Opera; Carol Penterman, Nashville Opera • Churches, Bodegas, Community Centers: Making Authentic Connections with Wadad Abed, ACCESS; Rudolph Cleare,Negro Spiritual Scholarship Foundation; Kenneth Fischer, University Musical Society; Robert Swedberg, Orlando Opera; Diane Wondisford, Music- Theatre Group • Spam, Copyright, Patents, and Privacy Law and How to Thrive Online in Spite of it All with Stephen L. Tupper, Dykema, Gossett PLLC • Field Choice breakout session

– Submitted by Elizabeth LaRocca, Media & Government Affairs Manager April, 2005

7.29 TECHNOLOGY REPORT

External Outages and Problems: We experienced a major service outage with our web host (CDI Net) in mid-March. They farmed out the majority of their services to another entity and in the transition knocked out our site and email for a non-contiguous 3-4 day stretch. Their response time was adequate at best and we are starting a preliminary search for a new web host.

Current Hardware and Network Status: The current hardware and internal network are all performing well with little to no downtime.

Current Software and Development: Software and web development is proceeding at a good clip. Several projects have been identified and are either in development or completed with several more on tap.

I. Membership Database: As reported previously our database is no longer an adequate tool to handle our membership, conference planning, conference attendance, publication sales, and donor information. It was custom designed several years ago and has gone through various alterations by the staff to reflect our changing business needs. As a result its original functionality has been seriously compromised and the data extracted from it is unreliable. Our top priority is finding a suitable replacement.

Several options have been put forth and researched with a special eye given to what other service organizations in the arts have done to find a solution. Our problem is not unique. Dance/USA also has a serious need of a new database for much of the same reasons as ours noted above. Our combined research with Dance/USA (specifically Andrea Snyder, Executive Director of Dance/USA) has led to one intriguing possibility and has shed some light on several pitfalls we hope to avoid.

The leading contender for a replacement came from Chorus America. They experience a worst case possible scenario of data loss and they had to react quickly, choosing a custom design from Larry Larson and Associates. This new system was built from the ground up with a special emphasis placed on their business needs. Any processes that were specific to Chorus America were built in from the ground up so that the design truly met their needs. With advance planning, this is not a difficult goal to achieve. We (OPERA America and Dance/USA) met with Larson and Associates for a private demonstration and came away very impressed on all fronts. Larson and Associates has a strong track

7.30 record working with service organizations, most recently on the MusicVista.org site. The database they have created can truly meet all of our goals as well as allow for growth in a controlled manner thus avoiding unchecked development which led to our current problems.

Other options put forth were prepackaged solutions by commercial vendors. The majority of these packages were geared towards one specific aspect of a business (e.g., conference planning). While fine for one task, these solutions would require extensive third party modifications at an additional cost and time in order to meet our other needs. An example of this was the DonorPerfect system (www.donorperfect.com) in use by Chamber Music America: Chamber Music America bought this system after a situation of data loss (similar to Chorus America). Several of the users at Chamber Music America stated that it was a less than ideal solution for their daily needs. It handles donations and annual fund operations adequately but is vastly underpowered to handle much more, even after modification by the vendor. Arts Presenters also uses a commercial-off-the-shelf product, with many of the same limitations and with the added burden of a very steep learning curve for the staff. This research has led us to favor a custom solution from Larson and Associates even more.

We are currently exploring the option of securing funding for all of the national service organizations to purchase this new system as an outgrowth of our collaboration around the 2004 Convention, and in preparation for the 2008 Convention. Preliminary talks with the NEA have shown the possibility for securing significant funding (as much as 50%) towards the cost of this new database system. The need for a comprehensive database solution is an industry wide need and the NEA recognizes this. We’re hoping to spearhead the campaign to secure the right tools to do our jobs at an unprecedented level of efficiency and ease.

A demonstration of the capabilities of Larson and Associates’ database for other potential partners is scheduled for May 16th, 2005 in New York.

II. Cornerstones/Opera World: “Cornerstones” is a project that we have undertaken with Boston Lyric Opera and The Minnesota Opera with funding from The Target Foundation and the NEA. The project’s function is to provide in depth information on the 20 most performed operas in North America for the general public from our Opera World website (http://www.operaworld.com/cornerstones). It has been completely revamped for user ease as well as to incorporate new features. The new layout boasts a more eye pleasing layout and a simplified structure. The newly redesigned structure currently houses sound clips for the first 10 operas and will

7.31

be expanded to all 20 as well as contain interviews with various singers, conductors and opera luminaries as they become available. It will be the centerpiece of the Opera World website as we redesign Opera World to reflect its mission to raise awareness and appreciation for the art form to the general public and educators.

III. Web Redesign (www.operaamerica.org & www.operaworld.com): Both of our websites are in need of a graphical and structural upgrade. The current designs are unwieldy and do not allow for updates in a timely manner. Our users for the most part are not tech savvy web surfers and the current design does not allow users to find the information they need without spending an inordinate amount of time searching. We have begun identifying the specific trouble spots and are working on a new, more coherent design that not only will be easier to use but also more pleasing to the eye. The bulk of this work will occur this summer with an estimated completion date of September 30th, 2005. We are proceeding slowly and methodically to ensure that our sites truly will be THE source of opera information on the web. This is a huge undertaking.

IV. Membership: The online portion of membership has been completely overhauled to reflect our new practices as well as cut down on the steps necessary to join OPERA America. The new features include new secure online forms as well as current and more user friendly information on our membership categories and what OPERA America has to offer. The new layout will allow potential members to better ascertain which membership category is right for them as well as give current members a better tool to keep their own information with OPERA America current. The new structure also allows for online renewals. This is a big step up from the previous version and will be available online the week of April 25th, 2005.

V. In The Works: “In The Works” is an online database listing of all new works in various stages of production. It can be found at http://www.operaam.org/inthewks/main.htm. The web application is now live and working properly. “Encore” (a sister publication to “In the Works”) will be merged with “In The Works” to provide one unified interface. This will allow for broader searches and information as well as keep maintenance time and effort low. This merger will happen Summer of ’05.

7.32 Mark your calendar

Next Board Meetings

Fall 2005 September 30 - October 2, 2005 San Francisco, CA

Winter 2006 January 27 - January 29, 2006 New York City, NY