Segmentation Models for Arts Public Relations: Finding an Audience for Opera
by
Christina Raphaëlle Haldane
A thesis submitted in conformity with the requirements for the degree of DMA in Voice Performance Faculty of Music University of Toronto
© Copyright by Christina Raphaëlle Haldane 2019
Segmentation Models for Arts Public Relations: Finding an Audience for Opera
Christina Raphaëlle Haldane
DMA in Voice Performance
Faculty of Music University of Toronto
2019 Abstract How are non-profit boutique opera companies with limited operational budgets targeting and engaging with their publics? This question must be answered if these opera companies are to maintain relevance against an evolving landscape of financial instability, numerous entertainment options, and varied communication techniques. My starting point is that establishing strong connections between non-profit boutique opera companies and their current and potential audiences is essential, to both artistic and financial longevity. Segmentation can provide a successful tool for public relations practice, by targeting these audiences and tailoring communications and engagement activities accordingly.
The research I undertook explores the possible use of segmentation by non-profit boutique opera companies in their public relations activities: first in a general discussion of segmentation, public relations and marketing, as related to non-profit arts organizations, and in particular non-profit boutique opera companies, then in a discussion about how Ontario’s and Canada’s population engages with the arts. I also explore the existing non-profit boutique opera company scene in Toronto. Based on a qualitative field study with non-profit boutique opera companies located in Toronto, I document their means of communication in reaching out to their current and potential audiences, and the issues and successes met. I also document planning schedules, mission statements and personal involvement. Drawing from these findings and my literature review, I present an overview analysis and outline potential administrative and audience-building strategies for non-profit boutique opera companies.
Findings from the qualitative study indicate that the non-profit boutique opera companies use segmentation in an informal way to reach out to various identified audiences. Personal ii relationships and the use of advocates become important to maintaining their core and specific audiences. Imaginative ways are deployed to reach out to new audiences. Their reaching out to audiences is at the centre of a web of activities where administrative and personal dynamics enter into play so that these non-profit boutique opera companies can survive. The findings provide rich and detailed data on how these non-profit boutique opera companies navigate their landscapes so that their artistic creativity can be appreciated by audiences.
WORD COUNT: 339
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Acknowledgments
I wish to thank my supervisor, Dr. Darryl Edwards, for providing continued emotional and intellectual support throughout the process of researching and writing my thesis. I greatly appreciate the thoughtful guidance and expertise provided by my doctoral committee, Dr. Jeff Packman, Dr. Ellen Lockhart and Mr. Andrew J. Kwan, director of Andrew Kwan Artist Management. Omissions or errors are my sole responsibility. I also wish to thank the participants in my research study for their valuable insights, creativity and time. All relevant data is contained within the manuscript.
Conflict of Interest Statement
I hereby declare that the submitted work was not carried out in the presence of any personal, professional or financial relationships that could potentially be construed as a conflict of interest.
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Table of Contents
Acknowledgments...... iv
Table of Contents ...... v
List of Tables ...... x
List of Appendices ...... xi
Chapter 1 Introduction and Methodology ...... 1
Introduction and Methodology ...... 2
1.1 Introduction ...... 2
1.1.1 Personal Setting for this Research Study ...... 2
1.1.2 Conceptual Setting for this Research Study...... 3
1.2 Methodology for the Field Study ...... 7
1.2.1 Research Questions ...... 7
1.2.2 General Approach and Ethics Requirements ...... 7
1.2.3 Procedural Matters ...... 9
Chapter 2 Literature Review I: Reaching Out to Opera’s Audiences ...... 11
Literature Review I: Reaching Out to Opera’s Audiences...... 12
2.1 Introduction ...... 12
2.2 Segmentation...... 12
2.3 Segmentation for the Arts in Canada ...... 14
2.4 Public Relations ...... 15
2.5 Marketing and Public Relations for Non-Profit Organizations ...... 16
2.5.1 Marketing in General ...... 16
2.5.2 Marketing for Non-Profit Arts Organizations...... 17
2.6 Planning in Public Relations ...... 18
2.7 Social Media ...... 19
2.8 Digital Tools for the Arts ...... 21 v
2.9 Maintaining an Authentic Voice ...... 25
2.10 People’s Appreciation for the Arts ...... 25
2.11 New and Unlikely Spaces for Arts Performances...... 26
2.12 Audience Engagement in the Arts ...... 27
2.12.1 Adult Population in Ontario and Canada ...... 27
2.12.2 Young Audiences ...... 30
2.12.3 Opera Audiences ...... 34
2.13 Concluding Remarks ...... 36
Literature Review II: Locating Boutique Opera ...... 39
3.1 Introduction ...... 39
3.2 Staging: Musical Scenes, Persona and Genres ...... 39
3.3 An Alternative Music Scene ...... 42
3.4 Backstage: Canada’s National Opera Scene ...... 45
3.5 Main Act: Toronto’s Alternative Opera Scenes, Boutique Opera at a Glance ...... 46
3.6 Concluding Remarks ...... 58
Boutique Opera on the Ground: Background and Identity ...... 64
4.1 Introduction ...... 64
4.2 Background Information ...... 64
4.3 Organizational Identity ...... 68
4.3.1 Organizational Goals and Mission ...... 68
4.3.2 Organizational Brand and Image ...... 70
4.4 Concluding Remarks ...... 72
Boutique Opera’s Audiences ...... 74
5.1 Introduction ...... 74
5.2 Audiences and Means of Communication ...... 74
5.2.1 Core Audience ...... 74 vi
5.2.2 Specific Audiences Outside of the Core Audience ...... 79
5.2.3 New Audiences ...... 84
5.3 Concluding Remarks ...... 87
Building Audiences ...... 90
6.1 Introduction ...... 90
6.2 Boutique Opera: Conversations with Audiences ...... 90
6.2.1 Successful Means of Communication - Core Audience ...... 90
6.2.2 Successful Means of Communication - Specific Audiences Outside of the Core ...... 92
6.2.3 Successful Means of Communication - New Audiences ...... 94
6.2.4 Benefits Experienced - Core Audience ...... 96
6.2.5 Benefits Experienced - Specific Audiences Outside of the Core ...... 99
6.2.6 Benefits Experienced - New Audiences ...... 101
6.2.7 Issues and Challenges - Core Audience ...... 102
6.2.8 Issues and Challenges - Specific Audiences Outside of the Core ...... 105
6.2.9 Issues and Challenges - New Audiences ...... 107
6.2.10 Ideals and Hopes - Core Audience...... 111
6.2.11 Ideals and Hopes - Specific Audiences Outside of the Core ...... 112
6.2.12 Ideals and Hopes - New Audiences ...... 113
6.3 Concluding Remarks ...... 114
Organizational and Personal Involvement ...... 118
7.1 Introduction ...... 118
7.2 Boutique Opera: Behind the Curtains ...... 118
7.2.1 Program Planning...... 118
7.2.2 Issues and Benefits ...... 120
7.3 Personal Involvement...... 123
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7.3.1 Personal Benefits ...... 123
7.3.2 Personal Challenges ...... 126
7.4 Concluding Remarks ...... 129
Surviving as a Boutique Opera Company ...... 132
8.1 Introduction ...... 132
8.2 The Answer to the Unasked Question ...... 132
8.3 Concluding Remarks ...... 138
Analysis and Strategies ...... 141
9.1 Analysis...... 141
9.1.1 Segmentation...... 141
9.1.2 Public Relations ...... 142
9.1.3 Digital Tools and Social Media ...... 144
9.1.4 Subscriptions ...... 146
9.1.5 Organizational Ethos ...... 146
9.1.6 Administrative Needs...... 148
9.1.7 Personal Involvement and Challenges ...... 149
9.1.8 Concluding Remarks for Section 9.1 ...... 149
9.2 Operational Strategies ...... 150
9.2.1 Resources for Administration ...... 151
9.2.2 Resources for Enhancing Capabilities ...... 151
9.2.3 Reducing Costs for Traditional Media Coverage ...... 152
9.2.4 Livestreaming Performances Online...... 153
9.2.5 Breaking Location Barriers, Participation and Co-creation for Indigenous Stories Told through Opera ...... 154
9.2.6 Initiatives to Connect Newcomers to Canada with Opera ...... 156
9.2.7 Highlighting the Interdisciplinary ...... 158
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9.2.8 University Education ...... 159
9.2.9 Young Audience ...... 159
9.3 Concluding Remarks ...... 160
Conclusion ...... 162
Bibliography ...... 165
Tables ...... 179
Appendices ...... 186
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List of Tables
Boutique Opera Companies’ Background
Table 1: Years of Operation
Table 2: Yearly Operating Budget
Table 3: Full-time and Part-time Administrative staff
Table 4: Volunteers Working as Administrative Staff
Table 5: Productions Scheduled per Season
Table 6: Average Number of Performances per Production
Table 7: Types of Ticketing Systems Used
Table 8: Particular Role(s) for the Founder/ Founders of a Non-profit Boutique Opera Company
Table 9: Types of Role(s) Originally Assigned to the Founder/ Founders, or a Non-profit Boutique Opera Company
Table 10: Types of Non-profit Registration
Table 11: If Not Registered as Non-profit Corporation or Charity - Type of Business Model
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List of Appendices
Appendix 1: First Contact E-mail
Appendix 2: Information Sheet
Appendix 3: Informed Consent Form
Appendix 4: Organizational Data Questionnaire
Appendix 5: Guide for Semi-structured Interviews
Appendix 6: Sample of a Coding Report from NVivo
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Chapter 1 Introduction and Methodology
1
Introduction and Methodology 1.1 Introduction
How are non-profit boutique opera companies with limited operational budgets targeting and engaging with their publics? This question must be answered if these organizations are to maintain relevance against an evolving landscape of financial instability, numerous entertainment options, and varied communication techniques. My quest in finding answers to this question has guided me through an investigative journey which stems from both a personal and an intellectual interest and curiosity regarding the issues raised above.
1.1.1 Personal Setting for this Research Study
I am an opera singer who completed formal performance training in 2005, graduating with an MMus from the Guildhall School of Music and Drama, in London, UK. My professional performing career began in the UK, and I was able to secure regular operatic contracts directly after graduation. My performance opportunities began locally in the UK, and as an emerging artist at the time, I was able to work as a soloist opera singer in a wide range of activities. I sang lead roles in regional touring opera companies and localized opera festivals, and smaller roles in national level and international level opera houses. As my experience grew, I was then able to achieve work performing lead roles internationally in Europe and Asia.
My performance calendar was full in the few years leading up to the global financial crash in 2008, and like many opera singers within my extended personal contacts in the UK at the time, I experienced a readjustment of continuity in the immediate years following the crash. Performing opportunities were still there, however increased financial uncertainty experienced by operatic organizations as a result of the crash contributed to a decrease in the creative opportunities they could provide. In view of this, some opera singers like myself experienced gaps in their performance calendars: there was simply less work to go around. All individual opera singers will deal with the ebbs and flows of their performance opportunities in different ways. For me personally, I continue to enjoy performing at an international level as an opera singer, oratorio soloist and recitalist, however I now also incorporate other activities into my overall practice as a musician.
2
In 2015, I commenced a Doctorate of Musical Arts degree in voice performance at the University of Toronto’s Faculty of Music. My motivation for this further education was to enhance my sense of continued learning as a musician, and also to enable me to expand my capabilities as a voice teacher and pedagogue. I currently balance my academic work with that of my performing schedule, and teaching of masterclasses and private studio lessons.
Upon my relocation to Toronto in 2015, I was both impressed and intrigued by the opera scene I encountered in my new home city. Being an active opera centered audience member, I was able to enjoy an abundance of operatic productions. As in London, UK, I was able to explore opera productions at a national and international level. However, the difference I experienced in Toronto, was that there was also a varied independent opera scene thriving alongside the more traditional opera companies I had experienced previously. As I began to enjoy attending opera performances produced by the local independent opera companies in Toronto, I could see that many of these companies were innovative and entrepreneurial in nature, and that their creative forces contributed to the vibrancy of opera in Toronto. As many opera singers continue to face gaps in their performance schedules, I could see that these companies also provided performance opportunities to an expanded network of operatic related artists and personnel.
My journey as an emerging artist did not involve independent opera performances, mainly because those opportunities were not a part of the opera scene I personally experienced in London, UK, during the beginning of my career. In view of this, my interest in these independent opera companies came later in my career, as I became more familiar and intrigued by their work by living in Toronto. It is the audience-building activities of these smaller opera companies, boutique in nature, which became a focal point of interest and curiosity. In 2012, while still in London, UK, I also trained at the Chartered Institute of Public, for a Diploma in this field. My training in public relations also helped to crystallize my interest for relationship-building in non- profit arts organizations, and my curiosity about how these independent opera companies are establishing, maintaining and reaching out to their audiences.
1.1.2 Conceptual Setting for this Research Study
In view of my personal quest stated above, I decided to set up, as part of my DMA program, a research study to examine how opera companies, in particular those which are boutique in 3
nature, might use “segmentation” with regards to their public relations activities. Before explaining my investigation of literature relating to my research interest, it is necessary at this point of time to provide information on some terms used.
From an early start in my investigations, I referred to independent opera companies such as those found in Toronto as “boutique” opera companies. Later on, based on data obtained from my field study, I came to crystallize the term “boutique” as attached to an opera company which is considered smaller than mainstream opera companies, in terms of their personnel (approximately five paid staff or less), production output (approximately five yearly productions or less) and yearly operational budgets (approximately $1 000 000 CAD or less).1 My term “boutique” also refers to “specialization,” as many of these smaller opera companies encompass “specialties” in their artistic focus, for example producing contemporary Canadian repertoire, providing opportunities for young artists, and modernizing the libretti of standard opera repertoire.
Segmentation is a marketing technique frequently used in arts marketing, to categorize members of the public into groups according to commonalities, such as demographics, geographics, psychographics, age and gender.2
“Public relations” as defined by Cutlip et al. is: “the managerial function that establishes and maintains mutually beneficial relationships between an organization and the publics on whom its success or failure depends.”3 Public relations is communication and relationship oriented. On the other hand, “marketing” as defined by Kotler is: “a social and managerial process by which individuals and groups obtain what they need and want through creating, offering and
1 This data stems from the non-profit small opera companies who participated in my research study, and should not be extrapolated to other opera companies also mentioned in this research study.
2 Kotler and Scheff, Standing Room Only, 167.
3 Cutlip et al. cited by Edwards, “Public Relations Origins: Definitions and History,” 5. 4
exchanging products of value with others.”4 As compared to public relations, marketing is product and sales oriented.
There is significant literature regarding arts marketing, which includes the use of segmentation as applied to the practice, and public relations as related to marketing activities. However, there is a gap in the arts marketing literature pertaining specifically to opera, which poses greater financial, programming and public engagement challenges than other art forms.5 There is extensive literature exploring public relations, yet no academic study could be found with a primary focus related specifically to the arts. This provides an opportunity for further research, which would greatly benefit the discipline.6 Furthermore, no academic study could be found which focuses primarily on public relations as applied directly to opera companies.
Public relations messages in traditional forms of media are not paid for, as is the case with marketing and advertising.7 Therefore, public relations strategies create an opportunity for non- profit boutique opera companies with limited financial resources to communicate with their current and potential audiences in this arena. For non-profit boutique opera companies, devising their communications strategies and building relationships with their audiences can be achieved by the creativity and time that their personnel devote to these activities, which aligns with limited financial resources. However, these public relations activities should not be confused with the role that publicists play, who are individuals or firms that are hired for their services, and therefore can require substantial financial resources. The activities of publicists can include devising communications strategies and establishing relationships between their clients and traditional forms of media.
4 Kotler cited by Varbonova, Strategic Management in the Arts, 156.
5 Fraser and Fraser, “Creating the Opera Habit: Marketing and the Experience of Opera,” 393-394.
6 Paquette and Redaelli, Arts Management and Cultural Policy Research, 36.
7 Rosewall, Arts Management, 236. 5
In order to investigate further the use of segmentation in public relations strategies for non-profit boutique opera companies, I devised my research study to be exploratory in nature due to the limited literature directly applying to this field. As I was particularly interested in the operational aspect of non-profit boutique opera companies, I decided to include a field study to my research project in order to document the life on the ground for these companies as they reach out to their audiences. The results of my research study are presented under the following titles, each forming a chapter of this thesis: • Literature Review I: Reaching Out to Opera’s Audiences; • Literature Review II: Locating Boutique Opera; • Boutique Opera on the Ground: Background and Identity; • Boutique Opera’s Audiences; • Reaching Audiences; • Organizational and Personal Involvement; • Surviving as a Non-profit Boutique Opera Company; • Analysis and Strategies; • Conclusion.
Themes I explored in the literature review cover theoretical aspects of publics relations and marketing practices, and how they link to non-profit arts organizations and their activities. I discuss segmentation alongside methods for its application to non-profit arts organizations and their marketing practice and traditional and digital communications channels and means. I review strategies for broadening audiences, as well as concepts regarding authenticity. By reviewing studies on attendance patterns for specific audiences, and also the ways in which the adult population in Ontario and Canada participate, I investigate audience engagement in the arts. In order to provide context on the life of non-profit boutique opera companies, I also review themes from popular music studies theory, and present snapshots which depict the opera scenes on a national level in Canada, and locally in Toronto.
As a way of introduction to non-profit boutique opera companies from my field study, I provide basic data on their organization. Themes presented from the findings of the field study include examining the relationship between non-profit boutique opera companies and their audiences, by identifying who compose various audience groups, and how participating non-profit boutique opera companies engage and communicate with them. The successes, benefits, challenges and ideals that their representatives experienced as a result of their communications and relationship-
6
building activities with their audiences is another theme examined. Organizational involvement and planning, as well as the benefits and burdens that these representatives experienced on a personal level as a result of their work, are considered in the findings. Although representatives were not asked directly about the survival of their non-profit boutique opera company, this theme emerged as a result of the semi-structured interviews. The study concludes with an analysis of the findings and strategies for possible administrative and audience-building strategies for the future.
1.2 Methodology for the Field Study
1.2.1 Research Questions
In order to investigate the gaps identified above in the literature pertaining to marketing and public relations for opera companies, I devised my field study with the goal of answering the following research questions: (1) How are non-profit boutique opera companies with limited operational budgets targeting and communicating with their publics and enabling their audience-building activities? (2) What are their views on the activities engaged in, and ideally what alternatives would they favor?
My standpoint and premise are that establishing strong connections between non-profit boutique opera companies and their current and potential audiences is essential, to both artistic and financial longevity. Segmentation can provide a successful tool for public relations practice and audience-building initiatives, by targeting audiences and tailoring communications and engagement activities accordingly.
1.2.2 General Approach and Ethics Requirements Using a qualitative methodology, semi-structured interviews with participating non-profit opera companies were based on a phenomenological research approach. Within such an approach, there is a focus on “the quality and texture of the participant’s experience”8 where their
8 Willig, Introducing Qualitative Research in Psychology, 69. 7
perceptions of their actions and their social world are also explored.9 Representatives from these selected opera companies were invited to speak about the means of communication used along with their successes and challenges in reaching out to their current and potential audiences, and on how they experienced and viewed these. My objective was to investigate how these representatives/ participants10 experienced their role as decision-makers in their opera company’s communications and audience-building strategies, in other words, how they perceived and felt those experiences. A qualitative method was used to devise a question guide for semi-structured interviews, where participants’ comments provided insights into their world. The qualitative method of allowing participants to express themselves freely under a theme, combined with the role of the author in selecting illustrative quotes, and therefore highlighting these as the “star attraction” of the study11 supported my research methodology aims.
The field study’s protocol was approved by the Social Sciences, Humanities and Education Research Ethics Board of the University of Toronto.12 Information was provided to potential participants about the objectives and process of the field study, and those participating gave written informed consent in accordance with the Declaration of Helsinki 2013 (see Appendices 1-3: E-mail Invitation, Information Sheet and Informed Consent Form). The organizational data questionnaire (see Appendix 4) and the interview guide (see Appendix 5) were tested with a musician holding an artistic director role with a classical instrumental group in Toronto, prior to their use with participants. Following testing, some adjustments were incorporated to the interview guide.
A number of strict procedures were put into place to protect the anonymity and personal data of participating companies and their representatives. For instance, numerical codes were used to
9 Bryman, Social Research Methods 5th edition, 16.
10 In referring to the representatives of the non-profit opera companies who were interviewed for the field study and in discussing the findings, these representatives are identified mainly as “participants.”
11 Chenail et al., “Facilitating Coherence across Qualitative Papers,” 271.
12 Reference # 35183. 8
identify a participant’s interview and used in the transcript. Electronic files containing the transcripts were password protected. The sending of transcripts between the transcriber and myself was done through Dropbox with the use of a password.
1.2.3 Procedural Matters
Toronto as the biggest metropolitan centre in Canada has a large and diverse population which enables a range of opera companies to exist (from boutique to larger ones). I chose this location for my field study since it provided for the possibility of studying a number of non-profit boutique opera companies in the same place. However, the activities engaged in by these non- profit boutique opera companies to reach their current and potential audiences, as well as the issues met, could be similar to other small opera companies in other larger cities in Canada, and hopefully in smaller cities also.
Through purposive sampling, I identified sixteen non-profit boutique opera companies operating in Toronto, all with contact details in the public domain. I contacted potential participants holding directorial roles at these companies via e-mail, resulting in twelve participating in the field study. All the participants completed a short online survey via Survey Monkey, providing organizational data on their company. I then invited participants to face-to-face interviews lasting approximately 45 minutes. I interviewed nine participants face-to-face, and due to their extensive travel schedules, two participants were interviewed via FaceTime, and one participant via Skype. The interviews were conducted between the months of September and December 2018. All interviews were audio recorded, and as mentioned above, with the data transcribed by a typist. The transcripts were double-checked by the typist and me to ensure their accuracy.
Analysis and coding of the transcripts under different themes was done through the compiling software NVivo. Each question in the interview guide represented a main theme under which a number of sub-themes were developed. For the sub-themes, the first steps required tentative refinement of codings until these became crystallized with the analysis of a few participants’
9
comments, the goal being to attempt to identify as accurately as possible the participants’ views and experience.13
Since participants often provided reflexive comments regarding their views and experience as representatives of non-profit boutique opera companies, my choice of quotes reflects this with enough text chosen so the context of their comments can be appreciated. Information about approximate occurrences in the participants’ comments is provided as detailed in a footnote in Section 4.2 “Background Information,” and this procedure is supported by some authors.14 In reporting participants’ comments in order to preserve their anonymity, I used a pseudonym for each one, taken from the names of characters in operas by Giacomo Puccini.
In reporting on qualitative studies, findings can be interwoven with the literature review/ theory or as it the case in this research study, they can be sandwiched between the literature review and the analysis.15 Due to my study being exploratory in nature, a variety of themes surfaced from the literature review which I thought would benefit from being introduced together as a backdrop to the findings. I was then able, after presenting the findings of the field study, to analyze and link pertinent themes in the findings with similar ones in the literature review. This pattern is also one that is used by many researchers in qualitative studies.16
In the next chapter, I present a review of literature in order to examine issues and opportunities pertaining to non-profit arts organizations, in particular non-profit boutique opera companies, and how connections with audiences are built. I explore further concepts such as segmentation, public relations, and marketing practices.
13 See Bazeley and Jackson, Qualitative Data Analysis with NVivo, Chapter 4, 99-110.
14 See Howitt, Introduction to Qualitative Methods in Psychology, 347-348; Bryman, Social Research Methods 5th edition, supra note 18 at 598-599.
15 Pratt, “Fitting Oval Pegs into Round Holes: Tensions in Evaluating and Publishing Qualitative Research in Top- Tier North American Journals,” 498-499.
16 Ibid. 10
Chapter 2 Literature Review I: Reaching Out to Opera’s Audiences
11
Literature Review I: Reaching Out to Opera’s Audiences 2.1 Introduction
In this chapter, I examine key elements to help locate opera in its contacts with audiences, within the larger sphere of arts organizations. I explore concepts such as segmentation, public relations and marketing, to see how these can apply to non-profit arts organizations such as boutique opera companies. In order to provide context for our current digital communications landscape, social media in general and digital tools as applied to non-profit arts organizations and their communications activities, are explored. I also discuss the importance of maintaining an authentic voice in communications. By reviewing people’s appreciation for the arts, and new and unlikely spaces for arts performances, I look at strategies for broadening audiences. In order to bring focus on audience engagement in the arts, I investigate ways in which the adult population in Ontario and Canada participate, attendance patterns for young audiences, and also specifically opera audiences. It is in Chapter 9 that I will examine in detail possible operational strategies for non-profit boutique opera companies in their administrative functions and audience-building activities.
2.2 Segmentation
McDonald and Meldrum describe segmentation as a marketing technique used to categorize people into groups, or segments, according to commonalities: what they consume, why they seek purchases and benefits received, and who they are according to factors such as stage in life, age, socio-economic standing, ethnicity and gender. Once commonalities are established and groups formed, marketing practitioners focus their dialogue and engagement according to the unique needs of each segment.1
1 McDonald and Meldrum, The Complete Marketer, 137-140. 12
Segmentation offers a method of effectively targeting communications, focusing on carefully selected consumer groups who will receive the most benefit from a service or product,2 as well as strategically identifying new potential markets.3 Kotler and Scheff outline tactics for identifying potential segments, including: demographics such as age, gender, sexual preference, education and income; geographics such as neighborhood and proximity to services provided by the organization; and psychographics such as behaviors, patterns, beliefs, class and life cycle. Once segments are aggregated, profiles are developed, in order to solidify tactics for communications.4 As it is neither cost-effective nor time-efficient to target communications tailored to each unique individual, Kotler and Scheff advocate that finding similarities to provide the basis for segmentation is more effective.5 Scheff Bernstein outlines the various stakeholders influencing non-profit arts organizations:
• internal stakeholders, such as management, staff and board of directors; • artists and performers, such as artistic directors, playwrights, composers, and choreographers; • fund-raising oriented groups such as individual donors, corporate foundations and sponsors; • audiences, including volunteers and subscribers; • government agencies; • labor unions; • media, such as TV, newspapers, magazines, radio and social media; • competitors, such as other arts organizations that provide both similar and different forms of programming.6
For non-profit boutique opera companies, the identification of stakeholder groups can provide valuable information as to whom these organizations should ideally be maintaining relationships with, through their public relations and audience-building activities.
2 Ibid.
3 Kotler and Scheff, Standing Room Only, 166.
4 Ibid., 167.
5 Ibid., 166.
6 Scheff Bernstein, Standing Room Only, Chapter 5. 13
2.3 Segmentation for the Arts in Canada
In 2010 Hill Strategies, through a commission by the Canada Council for the Arts, the Ontario Arts Council and Canadian Heritage, presented their findings on segmentation models concerning Canadians and their arts attendance. Due to the evolution of digital technology and the rise of digital access for Canadians since 2010, the findings from The Hill Strategies survey are limited. However, the study made interesting points with regards to segmentation, concluding that attendance at arts events and exposure to the arts, was a stronger predictor for arts attendance in the future, as opposed to one of the long-held views that demographics were the biggest predictor.7 Findings showed that an arts-interested public who attended events across the arts disciplines and cultivated exposure to culture through their own experiences, proved to be an important segment with regards to future arts engagement.8 The study found how those attendance patterns, which spread out through various arts disciplines and correlated to future attendance at arts events, could be a more influential predictor than demographics.9 Specifically for classical music, of the ten factors affecting attendance, seven were attendance at other arts activities, as opposed to three factors which were demographic.10 The top three predictors for classical music attendance shown in the findings were attendance at an art gallery, attendance at a cultural/ heritage performance (for example those with Indigenous, Japanese, Ukrainian influences) and having a higher education degree; all highlighting the link between attendance in other disciplines, cultural exposure and education.11
7 Hill Strategies, “Factors in Canadians’ Arts Attendance in 2010,” 1.
8 Ibid., 1-2.
9 Ibid.
10 Ibid., 32.
11 Ibid., 31. 14
2.4 Public Relations
Definitions of public relations can encompass the ideal practice rooted in Grunig and Hunt’s “two-way symmetric communications,” which is characterized by mutual understanding which benefits both parties.12 Stemming from the term public and relations, Cutlip et al. describe the practice as “the managerial function that establishes and maintains mutually beneficial relationships between an organization and the publics on whom its success or failure depends,” with “publics” being anyone who has an interest in the organization.13 The practice is stipulated by L’Etang as the “communication and exchange of ideas either in response to, or to facilitate change.”14 Coombs and Holladay define public relations as “the management of mutually influential relationships within a web of stakeholder and organizational relationships.”15 To develop and maintain such relationships, public relations practitioners communicate with stakeholders on behalf of organizations. Individuals who influence or can be influenced by an organization provide the correlation of interests, or “stake” between both parties.16
The definitions of public relations given above establish that the practice is exemplified by successful communications and developing mutually beneficial relationships between organizations and stakeholders/ publics: all important undertakings for non-profit arts organizations, including non-profit boutique opera companies. Cutlip’s definition is particularly useful since it clearly underlines the relationship between an organization and its publics.
12 Grunig and Hunt cited by Edwards, “Public Relations Theories,” 150.
13 Cutlip et al. cited by Edwards, “Public Relations Origins,” 5.
14 L’Etang, Public Relations, 33.
15 Coombs and Holladay, It’s Not Just PR, 26.
16 Ibid., 24. 15
2.5 Marketing and Public Relations for Non-Profit Organizations
2.5.1 Marketing in General
The practice and concepts of marketing were established in the early 1900s as a conduit for businesses to promote their products and services, with the approach evolving in the 1950s from a purely selling-centred principle to one that includes an emphasis on relationship-building between organizations and their clients.17 More recent definitions of the practice, such as Kotler’s, focus on these concepts of creation and exchange, describing marketing as “a social and managerial process by which individuals and groups obtain what they need and want through creating, offering and exchanging products of value with others.”18 The American Marketing Association uses a similar emphasis, explaining the practice as an “activity, set of institutions, and processes for creating, communicating, delivering and exchanging offerings that have value for customers, clients, partners and society at large.”19
The literature pertaining to present day definitions of marketing suggests that the practice involves building a foundation of trustworthy communications between individuals, organizations and communities, as well as ensuring that the exchange of products and services is beneficial to all parties. Despite the emphasis on communications and community involvement, Scheff Bernstein argues that the ultimate objective of marketing is to alter or maintain customer behaviors: not to educate or influence attitudes and beliefs, although this may sometimes be a consequence of the practice.20 Educating, in addition to influencing attitudes and beliefs through communications, can fall under the umbrella of public relations.
Increased access to online technologies and digital tools created for communications, has drastically changed how organizations engage with their publics. The rise of social media in
17 Varbanova, Strategic Management in the Arts, 156.
18 Kotler cited by Varbanova, Strategic Management in the Arts, 156.
19 Kolb, Marketing for Cultural Organizations, 19.
20 Scheff Bernstein, Standing Room Only, Chapter 2. 16
particular has drastically changed the communications landscape, and therefore public relations and marketing activities.
Social media has become a conduit for the development of digital marketing, or micro-targeting, an extensive form of segmentation. With micro-targeting tools, organizations can tailor their communications to specific individuals through social media platforms, using their behavioral data gathered from these platforms, to inform organizational messaging style and content, and subsequently track a person’s reactions to these initial targeted messages.21 Some data analytics companies who specialize in micro-targeting have developed sophisticated algorithms, which can generate constant feedback on how individuals are responding via their social media behavior, to these specifically tailored and targeted messages.22 Micro-targeting is bespoke to individuals and has the scope to reach people on a wide scale, by taking advantage of social media’s expansive networks. Furthermore, micro-targeting is much more cost-efficient than traditional TV advertising, and is largely un-regulated through its online platforms, making it a powerful communications tool.23 As there is a potential for it to be un-regulated via online platforms, the powerful aspects of micro-targeting could also prove to be more sinister in its usage in communications activities.
2.5.2 Marketing for Non-Profit Arts Organizations
A non-profit organization’s objective is by definition not profit-orientated. Alternatively to a market driven and profit based business model, a non-profit organization operates solely to provide services and products that serve and contribute to society at large, with any financial surpluses re-invested back into future organizational activities and programming.24 Income sources for non-profit organizations usually include government funding and donations from
21 Julia Carrie Wong, “It might work too well: the dark art of political advertising online,” The Guardian, March 19, 2018.
22 Paul Lewis and Paul Hilder, “Leaked: Cambridge Analytica’s Blueprint for Trump Victory,” The Guardian, March 23, 2018.
23 Ibid.
24 Varbanova, Strategic Management in the Arts, 2. 17
individuals or corporate sponsors,25 and also in the case of non-profit opera companies, ticket sales and any additional products or services.26 Furthermore, depending on locality and the legislation in place, non-profit organizations may be free from paying income tax, and through receipts to donors can provide them with tax reductions on their gifts.27
One of the central challenges facing non-profit arts organizations, as indicated by Rosewell,28 Kolb,29 and Varbanova,30 is establishing balance between the artistic mission of the organization, which they see as primary, and financial stability. Scheff Bernstein also advocates a mission-led strategy31 and elaborates on what she calls an art-centred concept, asserting that organizations are striving to expose their artistic output to the most substantial audience they can, as opposed to creating art that the largest audience will demand: the art comes first and the market follows as second.32
2.6 Planning in Public Relations
Within a public relations perspective, there is an emphasis on careful and strategized planning in its campaigns and activities. Anne Gregory highlights the need for meticulous planning and discusses a possible outline for successful implementation.33 She advocates that planning ensures that client’s programs fall within timescales and budgets; enhance creativity; focus on specified goals and long-term organizational aims; are equipped to resolve conflicts; avoid mistakes and
25 Ibid.
26 Ibid., 169.
27 Rosewall, Arts Management, 36-37.
28 Ibid., 47.
29 Kolb, Marketing for Cultural Organizations, 7.
30 Varbanova, Strategic Marketing in the Arts, 2.
31 Scheff Bernstein, Standing Room Only, Chapter 5.
32 Ibid., Chapter 1.
33 Gregory, “Public Relations as Planned Communication,” 175. 18
stay proactive in their operations.34 Seven key stages are outlined by Gregory as a potential framework for public relations planning:
• analysis of both the organizational (internal) and environmental (external) factors affecting the organization, as well as the publics relevant to the organization; • setting objectives, establishing specific and achievable objectives for the strategy; • identifying publics, deciding whom the plan is aimed at and segmenting publics accordingly; • messages or content, what type of message is being communicated and what is the key information; • strategy and tactics, how should the communications be conveyed and implemented; • timescales and resources, what is the timeframe and budget; • evaluation and review, ensuring that the plan is measurable and that evaluation occurs throughout the planning process and implementation.35 2.7 Social Media
Building relationships with the media is one area of practice that many in the public relations field use to differentiate themselves from other communication orientated disciplines, such as advertising and marketing.36 In a traditional media relations context, Shoemaker et al. outline the theory of “gatekeepers,” a concept characterizing the flow of information through news channels, such as broadsheets and television.37 The space for news content, either written or broadcast, is selected by journalists and editors, and subsequently framed by their own opinions and beliefs.38 Therefore these individuals control the “gate” through which stories must pass, in order to gain coverage.39
34 Ibid.
35 Ibid., 179-193.
36 Hutchins and Tindall, “New media, new media relations,” 105.
37 Shoemaker et al. cited by Hutchins and Tindall, “New media, new media relations,” 105.
38 Ibid.
39 Ibid. 19
The communications landscape has been dramatically altered by the evolving world of social media. Definitions of social media are varied, as online social networking sites as platforms are constantly changing, however the consistent characterization is one of participation and interaction.40 Bechmann and Lomborg define social media as the “new media phenomenon … in which ordinary users (i.e. not only media professionals) can communicate with each other and create and share content with others online through their personal networked computers and digital mobile devices,” highlighting a shift away from the concept and power of traditional media gatekeepers, and towards that of the general public as primary content producers and curators of their own information intake.41
The immediacy and wide distribution possibilities of social media, enhanced by the nature of their pre-existing online networks, have increased the effectiveness of word-of-mouth as a strategy for communications.42 A new morphed version of the traditional gatekeeper is established online, such as trusted individuals, advocates, i.e. members of the public who disseminate their positive feelings associated with a particular brand, and also influencers with large online followings, like celebrities and successful bloggers.43 Social media is expanding the power of word-of-mouth, by enabling the communications of the general public, advocates and influencers, in this new and evolving online setting.
Social media is also re-imagining traditional public relations theories, which are anchored in concepts relating to the flow and direction of information. Grunig and Hunt’s two-way communications model, where dialogue between both parties is symmetrical and results in outcomes beneficial to both parties, is held as the pinnacle of best practice, and is considered superior to the one-way model associated with propaganda and press-agentry.44 Motion, Heath
40 Motion, Heath, and Leitch, “Identify the problems,” 4.
41 Bechmann and Lomborg cited by Motion, Heath, and Leitch, “Identify the problems,” 4.
42 Burns, “How the top social media brands use influencer and brand advocacy,” 58.
43 Ibid.
44 Motion, Heath, and Leitch, “Engage One-way, two-way and every-way,” 67. 20
and Leitch argue, that the nature of social media’s multi-directional interactions, presents a challenge to the traditional concepts of one and two-way communications.45 They advocate that in order to succeed, public relations should focus its practices on the specific context of each situation, the beliefs and motivations of participating individuals and the original alignment between organizations and those they are communicating with.46 Using segmentation strategies to better understand the needs of different publics resonates with Motion, Heath and Leitch’s ideas on engagement.
In addition to challenging traditional public relations theories on communications, social media is also reforming concepts on publics. Social media’s platforms are creating the opportunity for publics to be “active” and engage in heightened contexts, by enabling individuals to interact not only with organizations and online content, but also with each other.47 Furthermore, publics’ ownership and power is enhanced, as online communities provide the space for individuals to actively participate in dialogues that contribute to both the meaning and the “co-creation” of messages and content.48 The participatory factors of social media also provide new opportunities for public relations, as practitioners can explore the evolving strategies for communicating with online communities, as well as begin to develop academic study in the field.49
2.8 Digital Tools for the Arts
Social media and developing digital technologies are presenting new opportunities and challenges for today’s non-profit arts organizations and artists. One of the ways in which the Canada Council for the Arts reacted to this landscape, was by commissioning Nordicity to report on “The Arts in a Digital World,” releasing the findings in 2016. Nordicity’s report shows how
45 Ibid., 66.
46 Ibid., 81.
47 Hutchins and Tindall, “Introduction,” 4.
48 Ibid., 5.
49 Ibid., 4-5. 21
the nature of audiences is evolving, as publics are able to curate their own arts consumption on various digital platforms.50 Arts organizations must now meet their audiences online, and adapt to the new gatekeepers presented by video and audio streaming platforms, search engines and applications.51 The relationship between organizations and audiences is evolving, as the participatory nature of social media can blur the lines between amateurs and producers, as well as provide platforms for audiences to be active critics.52 Organizations must operate on various social media platforms, and keep their dialogue constantly updated, in order to keep establishing connections that go further than simply attending a performance or event.53 Additionally, the online environment is presenting a broader range of possibilities in terms of engaging with audiences, and new segments of the population.54 In terms of public relations, the 24-hour element of social media can allow organizations to keep communications with their audiences flowing full-time. For non-profit boutique opera companies and their public relations activities, social media can provide the opportunity to create innovative “off-stage” content, in order to maintain the interest of current patrons, and also to reach out to new ones.
The Nordicity survey reported some of the challenges facing organizations, as they adapt to the evolving digital tools available to them. The case for communication strategies, and knowing audiences through segmentation practice, is strengthened by some of these findings. Organizations need to find ways of effectively engaging with audiences who are not active digitally, while continuously reaching out to those whose main interaction arenas are online: in
50 Nordicity, “The Arts in a Digital World Final Report,” ii. There were two components: (1) literature review and interviews with arts funding agencies on a global level, and (2) a survey carried out in 2016 of 2680 artists and 907 organizations. Participants for the survey came from across Canada and were selected to ensure diversity with regards to representation.
51 Ibid., iii.
52 Ibid., 6.
53 Ibid., 10, 29.
54 Ibid., 11. 22
effect, keeping their communications activities present, both on and offline.55 The investment needed to operate digitally was cited as a barrier by organizations; in terms of funding, both for operational purposes and to continuously upgrade IT systems and websites, alongside the time investment needed to devote to digital activities and training.56 The use of digital technologies was prevalent, with organizations seeing the necessity of continued investment of both time and money into these tools, however the majority of organizations felt that they had yet to see the return on their investment is this arena.57
In 2018 Against the Grain Theatre, one of the Toronto based indie opera companies explored in Section 3.5, with the aid of the Canada Council for the Arts, engaged digital consultant Michael Morreale to conduct a project called the Digital Opera Research and Intelligence Study, or DORIS, releasing their findings on livestreaming in 2019.58 Livestreaming within the context of this study was defined as “any performance disseminated online either live or on demand.”59 The DORIS report consulted 1500 opera fans in North America (28% were Canadian) with access to a computer via an online questionnaire, through partnerships with eight opera companies.60 Respondents were active arts consumers, with 92% having attended a live performance of either opera, ballet or symphony once in the month prior to participating in the survey, and 20% having attended over five such live performances within the same period.61 The majority of respondents were within the 55-74 age bracket, with nearly half reporting a yearly income of over $100 000.62 Respondents were also mainly living in or near large urban centres, with 87% responding
55 Nordicity, “The Arts in a Digital World Final Report,” 29.
56 Nordicity, “The Arts in a Digital World Survey Data Summary,” 12.
57 Ibid.
58 Against the Grain Theatre, “Digital Opera Research and Intelligence Study.”
59 Ibid., 7.
60 Ibid., 6, 9.
61 Ibid., 13.
62 Ibid., 6, 11. 23
that they did so.63 Despite residing in large urban centres, which implies access to varied live performances, respondents were interested in livestreaming performances, with 36% having previously watched a livestreamed performance, and 73% claiming they were somewhat interested in doing so in the future.64 The study also implies that this opera fan demographic could be enticed into watching more video content online, as only 55% of respondents typically watch video content online once a week, which is far lower than the 85% reported across all Canadian demographics by the 2018 IAB Canadian Media Usage Trends Study.65 Furthermore, the DORIS report highlights the financial incentives for opera companies implied by livestreaming to this opera fan demographic, as the majority of respondents would pay for livestreaming, with 25% claiming they would pay $10 or more to do so, and 32% report they would be more likely donate to companies which provided livestreaming in their artistic programming.66 This interest in livestreaming, combined with the financial incentives, make it a valuable potential tool for non-profit boutique opera companies in their programming initiatives.
The DORIS report also highlighted important findings pertaining to this opera fan demographic’s social media use. The most popular social media platforms used are Facebook, YouTube, Instagram and LinkedIn, with 60% of respondents logging onto a social media platform once a day or more.67 The positives of social media usage can also be linked with livestreaming, made potentially possible by the nature of Facebook and YouTube, which feature substantial and free livestreaming capabilities.
63 Ibid., 10.
64 Ibid., 7.
65 Ibid.
66 Ibid.
67 Ibid., 16. 24
2.9 Maintaining an Authentic Voice
The complexity of maintaining authenticity in communications between organizations and their publics has evolved for public relations, especially in the interactive age of social media.68 Authenticity, remaining true to one’s own core values and beliefs while consistently and sincerely presenting oneself to others, is aligned with establishing truth in public relations practice.69 As public relations practitioners facilitate communications between organizations and their publics, their very essence as intermediaries poses a challenge to the concept of authenticity, which is associated with personalized dialogues and expression of the self.70 In communications practice for non-profit boutique opera companies, who may not engage professional public relations practitioners, the concept of authenticity can create an opportunity. Non-profit boutique opera companies, with small administrative and artistic teams, have the freedom to incorporate personalized and innovative communications within their public relations activities which reflect their mission statements and the image they hold of their company.
2.10 People’s Appreciation for the Arts
Shifts in audience behavior and demographics have created new challenges for arts organizations. There has been a change in the selection patterns of arts audiences, to what Richard Peterson characterizes as “cultural omnivores:” patrons who enjoy variety in their arts attendance, as opposed to remaining loyal to just a couple of genres.71 Additionally, there has been a switch in the way arts patrons purchase their tickets for arts events, resulting in a preference for last minute single ticket purchases over subscriptions (purchasing an entire season, or selected package of performances with one organization, in advance).72
68 Motion, Heath, and Leitch, Social Media and Public Relations: Fake friends and powerful publics, 63.
69 Ibid., 63-64.
70 Ibid., 63.
71 Colbert and St-James, “Research in Arts Marketing,” 567.
72 Scheff Bernstein, Standing Room Only, Chapter 1. 25
Marketing literature has also emphasized a shift in consumer expectations, as individuals seek more experience orientated products and services, or what Pine and Gilmore refer to as an “experience economy.”73 Fortunately, according to Chronis and Hampton, the arts provide the ideal arena for authentic exchanges between performers and audiences, therefore creating engaging experiences for attendees.74 Colbert and St-James expand on experience oriented marketing literature by highlighting differences between “aesthetic” experiences (the exchange between art and mind) and “service” experiences (the surroundings in which art is observed).75 According to research by Carù et al., the environment in which art is observed greatly affects how a person experiences the exchange, resulting in Colbert and St-James advocating an emphasis on service orientated concepts and additional products when marketing the arts.76
2.11 New and Unlikely Spaces for Arts Performances
Introducing arts events to unlikely and new spaces can create opportunities for arts organizations and their initiatives. For non-profit opera companies, even those that are boutique in nature with small personnel, the challenge of live theatre in new spaces becomes even greater, given opera’s additional requirement of musical cohesion between singers and instrumentalists. Despite the challenges posed for staging opera in new settings and increasing participation between operatic performers and audiences, innovative production concepts and programming can create opportunities for performing in unusual spaces, and ultimately make opera adaptable.
The Ontario Arts Council commissioned WolfBrown to research arts engagement in Ontario, with data collected and issued in 2011, providing insights into the informal spaces where Ontarians were participating in the arts.77 Ontarians enjoyed musical activities in a variety of
73 Rosewall, Arts Marketing, 210.
74 Osborne and Rentschler, “Conversation, Collaboration and Cooperation,” 66.
75 Carù et al. cited by Colbert and St-James; Colbert and St-James, “Research in Arts Marketing,” 568.
76 Colbert and St-James, “Research in Arts Marketing,” 568.
77 WolfBrown, “Ontario Arts Engagement Study Summary.” 26
unconventional settings, such as outdoor spaces, parks and restaurants.78 The report suggests that arts events can be strategically re-designed for new locations, in order to appeal to different audiences.79 Furthermore, the findings comment on how varying the environment for arts events could foster possibilities for increased participation between creators and their audiences.80
2.12 Audience Engagement in the Arts
Studies in the last ten years have explored how different population groups engage in the arts and which art form they favor. The reports reviewed below provide statistics on these groups and correlates some of their basic characteristics with the type of artistic activities they participate in. Reports by WolfBrown, Environics, and Opera America, as well as a few articles focusing on opera companies’ audiences will be analyzed to provide information about audience engagement in the arts and how this can be of benefit to non-profit boutique opera companies.
2.12.1 Adult Population in Ontario and Canada
The 2011 WolfBrown study on arts engagement provided valuable insights into how Ontario’s adult population engaged with music based activities.81 99% of Ontarians participated at least once a year, in one of the ten musical activities listed in the survey, with streaming and downloading music, as well as listening to the radio, highlighted as the most prominent ways to do so.82 Younger adult Ontarians, under the age of 35, were more engaged with digital activities, such as streaming and downloading, than older Ontarians, with the report suggesting that non- profit organizations could benefit by finding ways to engage older Ontarians in online musical activities.83 The study also discussed the connection between media consumption and attendance
78 Ibid., 5.
79 Ibid.
80 Ibid.
81 WolfBrown, “Ontario Arts Engagement Study Summary.”
82 Ibid., 3.
83 Ibid. 27
at live events, noting how individuals who listened to music on the radio were more likely to attend live music performances than those who did not.84 Furthermore, the study made connections between participatory engagement, such as learning a musical instrument, and how these activities could potentially increase attendance at live events.85
The WolfBrown findings highlight possible opportunities for non-profit boutique opera companies in Toronto, such as exploring ways in which these organizations can align themselves with participatory learning activities such as singing for youths.
The Canada Council for the Arts and the Department of Canadian Heritage commissioned Environics to report on the availability and access Canadians had to the arts in 2016/ 2017.86 The findings emphasized the importance Canadians placed on the arts, with seven in ten feeling that the arts were important to their quality of life, and eight in ten agreeing that the arts benefited society.87 The report also highlighted that socializing, having fun and learning new things were top motivations for arts attendance, while the prominent barriers to attendance were a lack of time and interest.88 Education was also discussed as a prominent factor, in that those with university degrees are more likely to participate in the arts, and hold more positive perceptions with regards to the value of the arts.89
The Environics study also reported on how online activities are affecting Canadians and their access to the arts.90 Two thirds of Canadians have engaged with the arts online, either by accessing information on social media, downloading performances, finding information on local
84 Ibid., 5.
85 Ibid.
86 Environics, “Arts and Heritage Access and Availability Survey 2016-2017 Executive Summary.”
87 Ibid., 4.
88 Ibid.
89 Ibid., 5.
90 Environics, “Arts and Heritage Access and Availability Survey 2016-2017 Report,” 11. 28
arts groups to join, watching events live through live-streaming facilities, or uploading their own personal arts related content.91 Having access to performances online has affected attendance at live events, as a quarter of Canadians who downloaded or livestreamed performances claimed that these activities positively affected their attendance at live events.92 Online activity levels varied by demographic segments, showing an increase with university education and higher income levels, as well as a decrease with age.93 This creates an opportunity for arts organizations to utilize digital tools to engage more with older Canadians online.
Music engagement was discussed by the Environics study, relating to both attendance and personal participatory activities .94 Six in ten Canadians attended a music performance once in 2016, and the same percentage was reported specifically for Ontario, with attendance at a music performance listed as the top arts activity for Ontarians.95 Additionally, two in ten Canadians participated personally in learning a musical instrument or singing, with personal involvement increasing in younger people, aged 25 and under.96
The Environics report also provided insights into access to the arts for foreign born Canadians, those identifying as indigenous and young people.97 Newcomers to Canada were likely to have attended arts events across a wide spectrum of disciplines, more so than those originally born in Canada, and the arts activity with the highest attendance levels for newcomers was music performances, providing an engagement opportunity for classical music organizations such as
91 Ibid.
92 Ibid., 16.
93 Ibid., 11.
94 Ibid., 6-7, 17-18.
95 Ibid., 6-7.
96 Ibid., 17.
97 Ibid., 38-44. 29
non-profit boutique opera companies. 98 Newcomers also perceived that the arts were important to quality of life for them and their families, and indicated that the arts helped to bring communities together.99 Attendance levels across all arts disciplines were slightly lower for those identifying as indigenous than other Canadians, as were attendance levels specifically at music events.100
Those identifying as indigenous were also slightly more likely than other Canadians to participate in personal activities such as dancing and crafting, as well as streaming live arts events in languages other than French and English.101 Furthermore, they held stronger perceptions relating to the link between the arts and enhancement of a Canadian identity, economic growth in the community, and the prominence of Canadian artists on the world stage.102 However, those identifying as indigenous were less likely to have access to numerous arts events, as many do not live in urban environments.103 This creates an opportunity for non- profit arts organizations to incorporate strategies to diminish the location orientated barriers potentially experienced by those identifying as indigenous and to explore ways in which to create more participatory orientated programming.
2.12.2 Young Audiences
The Environics report highlighted how young people aged 16-24 displayed high levels of engagement, with nine in ten attending an arts event in 2016. Music performances were their most popular choice for attendance (63%), and they were slightly more likely to attend than other
98 Ibid., 44.
99 Ibid., 45.
100 Ibid., 6, 41.
101 Ibid., 42.
102 Ibid., 43.
103 Ibid. 30
Canadians.104 Young people (aged under 35) were also more likely to believe that arts events brought people together from diverse backgrounds, and to have attended or streamed online a performance by a visible minority or ethno-cultural minority.105 The youth population aged 16- 24 were also far more digitally engaged than other Canadians, with over eight in ten consuming the arts online, and between five and six in ten using online tools to learn about arts activities, watch pre-recorded content and interact with the arts via social media.106 Those aged 16-24 were also far more likely than other Canadians to engage in personal arts participation such as playing an instrument, singing or composing music.107
In 2015 the Wallace Foundation commissioned research examining the challenges arts organizations face engaging with the millennial audience segment, those aged 18-34, issuing their findings in 2017.108Arts attendance amongst millennials has declined, in that they attend fewer arts events than previous generations did within the same age bracket.109 Demographic characteristics describe millennials as financially insecure, highly diverse, liberal minded, transient and digitally connected.110 The biggest barrier to millennial attendance was cited as cost, and their perceived risk of committing to an event financially, that they felt they may not enjoy.111 Social aspects affect attendance. A barrier cited was that millennials found it challenging to find companions to attend arts performances, and they feared they would not connect with other audience members, which does not align well with their desire to share
104 Ibid., 38.
105 Ibid., 12, 40.
106 Ibid., 39.
107 Ibid.
108 Marketing Research Professionals, Inc., “Building Millennial Audiences: Opportunities and Barriers.”
109 Ibid., 14.
110 Ibid., 9-14.
111 Ibid., 20-21. 31
cultural experiences and participate at arts events in large friend groups.112 Many different social activities compete for millennials’ time and money, so arts organizations face competition from different arts genres, as well as from other leisure activities such as going to restaurants, films and sporting events.113 The study also reported that going to restaurants was the top leisure activity for millennials,114 which could present an opportunity for non-profit boutique opera companies to present their events in creative venues, which can accommodate both the restaurant and stage setting.
The Wallace Foundation study also highlighted the motivations millennials have for attending arts events. The report commented on how millennials can associate certain positives with arts attendance, such as heightened emotional experience, the novelty value of dressing up, the status and self-expression associated with discussing an exciting event online, or the feeling of an enhanced social connection with others.115 Millennials desire a whole extrinsic experience in addition to the performance itself, such as interactions with casts, unique venues, and opportunities to socialize with food and drink.116 The findings of the study presented opera as more challenging to market to millennial audiences than other arts disciplines, as millennials listed far less benefits to attendance than with other genres, such as theatre, dance and orchestral concerts.117 However, the study outlined some of the motivations millennials associated with attending opera, such as the formality of dressing up, the beauty of the productions and venues, and how the genre inspired being in the present, as well as transcendental feelings.118
112 Ibid., 24-25, 31.
113 Ibid., 27-28.
114 Ibid., 28.
115 Ibid., 33, 35, 41, 46.
116 Ibid., 32.
117 Ibid., 42.
118 Ibid. 32
For public relations and communications, the Wallace Foundation report outlines opportunities to explore, regarding information about the arts that could align well with millennials and their beliefs, as well as how millennials gather most of their information about events. The arts foster emotional reactions and connectivity, both factors that millennials seek in their leisure activities, which therefore creates an opportunity for arts organizations to emphasize these ideals in their communications strategies.119 Millennials, who are under financial limitations, perceive the costs of arts performances to be higher than they actually are, which poses an opportunity for arts organizations to clarify ticket prices in their communications.120 The report highlighted how millennials gather their information primarily from digital channels, such as social media, websites and e-mails, and word-of-mouth, over more traditional mediums such as newspapers, radio and TV.121 Also, millennials like to research events prior to committing to attendance, in order to lower any perceived risks and increase perceived value, which provides opportunities for arts organizations to enhance their events with educational communications prior to performances.122 For non-profit boutique opera companies on limited budgets, the opportunities to communicate with millennials through cheaper digital channels, over more expensive and traditional advertising outlets such as TV and magazines, presents a benefit with regards to public relations activities.
Based on the above reports, it can be seen that many arts-building initiatives focus on developing the youth audience, however there were other segments which emerged from the literature as possibilities for enhanced engagement. One age group which showed significant declines in arts attendance was the age bracket 35-44. Perhaps non-profit boutique opera companies could do more to re-connect to this segment, and to investigate the reasons for this decline and barriers to attendance. Newcomers to Canada showed great interest in arts attendance, especially classical music, which provides non-profit boutique opera companies with opportunities to communicate
119 Ibid., 41.
120 Ibid., 22.
121 Ibid., 38.
122 Ibid., 39. 33
with this engaged segment. Those identifying as indigenous also presented as highly engaged by participating in the arts, and they also held heightened positive views on Canadian artists and the value of arts in society. Non-profit boutique opera companies can explore ways to connect with this engaged segment, and also ways to remove any practical barriers to attendance, such as distance and transportation.
2.12.3 Opera Audiences
Opera America produce an annual field report, which aggregates data about the budgets and productivity of non-profit opera companies across North America.123 They dedicate a portion of their report to findings from select non-profit opera companies in Canada, including the international level Canadian Opera Company, as well as smaller companies operating on a national level, such as Calgary Opera and Pacific Opera Victoria.124 The positive news is that earned revenue, including ticket sales over the operating period of 2012-2016, showed an annual growth rate of 6.3%.125 However, the 2015,126 2016,127 and 2017128 issued reports (where each discusses activities from the previous working year) highlighted how the Canadian companies surveyed were operating with negative working capital and showed weaker financial strength than their American counterparts, as the Canadian organizations lacked strong endowment funds. Furthermore, the 2016 and 2017 reports concluded that Canadian companies experienced a decrease in donorship giving.129
123 Opera America, “Annual Field Report 2016.”
124 Ibid., 28.
125 Opera America, “Annual Field Report 2017,” 80.
126 Opera America, “Annual Field Report 2015,” 23.
127 Opera America, “Annual Field Report 2016,” 28.
128 Opera America, “Annual Field Report 2017,” 80.
129 Opera America, “Annual Field Report 2016,” 23; Opera America, “Annual Field Report 2017,” 80. 34
Can the financial insecurities experienced by some of the larger non-profit opera companies therefore lead to creating a gap for smaller non-profit boutique opera companies, with lower production costs? Theresa Agovino reported in Crain’s New York Business, on the thriving indie opera scene in NYC, where many of the smaller independent non-profit opera companies are both expanding their audiences and budgets, while many of the larger more established companies in the USA have seen audiences decline between 2005-2013.130 The New York Opera Alliance, founded in 2011 to initiate collaboration between the city’s smaller operatic organizations and producers, in April, 2019, listed fifty-four companies on its roster.131 It is positive to see the expansion of non-profit boutique opera companies in urban centres such as NYC, which are adapting to their environment and evolving the art form.
Michael Cooper reporting for The New York Times in December of 2018, outlined the dramatic shift in opera patrons’ behavior, as annual subscribers dwindle at three major opera houses in the USA: The Lyric Opera of Chicago (Chicago), The Metropolitan Opera (New York City) and San Francisco Opera (San Francisco).132 Cooper’s article points to the decline in subscription packages at The Lyric Opera of Chicago, who as recently as 2001, regularly sold out their season, due largely to their enthusiastic patron base who purchased annual subscriptions to the their opera season.133 The market in 2018 paints a different picture, with declines in subscription packages at The Lyric Opera of Chicago (approximately 90% of their audience were on subscription packages twenty years ago, to 33% on subscriptions for 2018), as well as at San Francisco Opera (approximately 75% of its audience were on subscriptions thirty years ago, to just 50% for 2018) and The Metropolitan Opera (only 20% of its audience were on subscriptions for 2018).134 The decline in subscriptions in these cases has affected organizational finances, as
130 Theresa Agovino, “In good company; Small opera groups are prospering and expanding even as bigger institutions are struggling or failing,” Crain’s New York Business, February 16, 2015.
131 New York Opera Alliance, “About NYOA.”
132 Michael Cooper, “Opera has a Problem: Fans aren’t Subscribing,” The New York Times, December 21, 2018.
133 Ibid.
134 Ibid. 35
single ticket purchases have not increased enough to cover the declines in subscriptions, therefore audience numbers are decreasing, and promotional activities to attract single ticket buyers are more costly than those aimed at subscribers.135 The trend has also affected programming, leading to fewer performances and the need for every production within a season to entice its own audience, in order to attract single ticket buyers and their interests.136 Previously, under a more subscription led model, new or lesser-known operas could be scheduled within a subscription alongside more mainstream repertoire, ensuring an audience throughout the season.137
2.13 Concluding Remarks
Operational possibilities explored in this chapter for non-profits arts organization can also apply to non-profit boutique opera companies, these being small non-profit arts organizations. Segmentation, for instance, offers an opportunity for focusing organizational ethos, programming and communications. Segmentation possibilities are varied, which allows small non-profit arts organizations ample options for exploring their own carefully cultivated audiences, and to tailor their activities accordingly.
Due to their non-profit nature, small non-profit arts organizations can choose an art-first ethos, while channelling any financial gains back into the future activities of the organization. Although financial rewards are not central to these organizations’ core values, maintaining financial balance and longevity are essential to successful operations. Marketing and public relations tools offer them opportunities for building relationships with their audiences, communicating their programming and values, and developing their own unique image. As public relations activities are not paid for in traditional media settings, this can provide a useful channel for non-profit arts organizations operating on limited budgets.
135 Ibid.
136 Ibid.
137 Ibid. 36
Expansion of communication channels via social media platforms and their extended networks also provides opportunities for non-profit arts organization. These platforms enable the general public, as well as influencers, and advocates to interact more readily with organizations that they feel align well with their beliefs and needs. For public relations practice, whether situated within a large strategic campaign or a more informal grass roots approach, these platforms provide opportunities for enhanced communications activities which are far more economical than traditional advertising.
Authentic connections are central to engaging in, and experiencing music, therefore these aspects of human nature provide opportunities for small non-profit arts organizations in that their small- scale model allows for a more personalized approach, which can lead to fostering deep and meaningful relationships with their audiences.
Presenting performances in new and unusual settings, outside the confines of traditional venues, also opens up avenues to be explored. Although opera presents a bigger challenge than other arts disciplines, due to its expanded personnel, there are still opportunities for non-profit boutique opera companies to successfully adapt and present performances in a variety of new settings.
Finally, various empirical studies conducted in Canada offer data which can be useful to identify engagement to the arts in different segments of the population based, for instance, on age, educational background, and newcomers to Canada.
In Chapter 9, I will further examine operational possibilities for non-profit boutique opera companies. In the next chapter, in order to situate these boutique opera companies within their musical environment, I explore concepts from popular music studies.
37
Chapter 3 Literature Review II: Locating Boutique Opera
38
Literature Review II: Locating Boutique Opera 3.1 Introduction
In order to provide context for my field study of twelve Toronto based non-profit boutique opera companies and their communications and audience-building activities, I will examine theoretical concepts from popular music studies literature. I will also discuss concepts relating to scene, persona, genre and alternative music. In order to provide a more genre specific context, I will present current snapshots of both Canada’s national and Toronto’s local opera scenes, including the international level Canadian Opera Company, and the smaller localized companies.
The opera scenes on both the national and local level are fluid, and these snapshots represent the operatic activities present as of January 1, 2019. However, companies and their leadership, mandates and operations may evolve and/or cease in the future.
3.2 Staging: Musical Scenes, Persona and Genres
Will Straw describes the concept of “ a musical scene” as “that cultural space in which a range of musical practices coexist, interacting with each other within a variety of processes of differentiation, and according to widely varying trajectories of change and cross-fertilization.”1 Musical hierarchies within a scene are constantly in flux, shifted and led by the behaviors and beliefs of the individuals who are participating in them.2 A sense of identity is re-enforced as individuals within a musical scene continually come together as a group, in order to seek the “communion” of experiencing a commonly desired interaction between performer and audience.3
The snapshot of the Toronto opera scenes that I present in Section 3.5, will examine who the individuals are whom are creating these unique cultural spaces, and how their different
1 Straw, “Communities and Scenes in Popular Music,” 469.
2 Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 241.
3 Ibid., 128. 39
interpretations of their musical practice nourish and replenish their work. The sense of cross- fertilization will be evident, as the non-profit boutique opera companies utilize elements aligned with different musical and artistic genres (i. e. categories)4 such as dance and multi-media installations.
Philip Auslander proposes a framework for the roles that musicians establish within popular music. He expands on different performance roles established by Simon Frith, focusing on the “performance persona” or the person within their social context.5 Auslander argues that the most prominent of Frith’s performance roles is that of “persona,” as a performer’s off-stage behavior is often closely aligned to that of their cultivated image, and although they may display many different characters within a performance, their persona will remain consistent throughout.6
According to Auslander, persona can be affected by social context, setting, visual image and musical genre.7 The cultural and social backdrop created by a geographic location affects the persona of the musicians working within it.8 Venue choices also inform persona, as spaces establish links with performance practices that are historically associated with particular settings.9 A performer’s visual image is also developed through all their merchandise, media and publicity materials, which in turn influence their cultivated persona.10 However, the most prominent impact on persona is the musical genre and its associated performance practices, which a performer aligns themselves with.11 Genres provide the context for persona, and
4 Scott, “Introduction,” 5.
5 Frith cited by Auslander, “Musical Persona: The Physical Performance of Popular Music,” 305.
6 Auslander, “Musical Persona: The Physical Performance of Popular Music,” 305.
7 Ibid., 306-308, 310.
8 Ibid., 307.
9 Ibid., 310-311.
10 Ibid., 308.
11 Ibid., 306. 40
maintain the backdrops which help to create the established assumptions and anticipations of both performers and audience alike.12 It is possible for genres to overlap, and performers can at times explore opportunities to develop their persona by incorporating practices associated with different genres outside their established musical category.13
The boundaries of established genres can be broken down and subsequently reconstructed into the borders for new styles, with their own musical practices and conventions, therefore establishing the concept of musical “newness.”14 According to Angel Quintero Rivera, genres can also possess a rejuvenating element, as musical practice can draw on the familiarity of certain genres, in order to provide potential for the creation of slightly transformed new musical ideas, which retain links between the familiar and the new.15 Keith Negus describes the catalyst and its subsequent actions engaged in to disrupt genre related boundaries, as the “fulfilment- frustration axis,” because creative activity can be fostered by feelings of frustration experienced as a result of desires to unsettle established musical practice.16 Creative activity, resulting in either a process or product, can also be the result of breaking down boundaries, according to Ulf Hannerz, as elements that are historically independent, such as words, images and sounds, are morphed together in the resulting new creative practice.17
Toronto’s boutique opera practice that I will be examining in Section 3.5 will show how these companies are creating their personas as groups by their treatment of musical and artistic genres, how they cultivate their image, and their choices of venue. The concept of newness will be explored by showing how boutique opera practice is breaking down the boundaries of established genres, and subsequently creating their own unique interpretations.
12 Ibid., 306-307.
13 Ibid., 307.
14 Negus, Music Genres and Corporate Cultures, 26.
15 Rivera cited by Negus, Music Genres and Corporate Cultures, 27.
16 Negus, Music Genres and Corporate Cultures, 182.
17 Hannerz cited by Negus, Music Genres and Corporate Cultures, 183. 41
3.3 An Alternative Music Scene
Drawing on the ideas of Barry Shank, Will Straw, Simon Frith and Keith Negus, I now explore concepts related to an alternative, or independent music scene, situated within the theoretical framework of popular music studies. I then establish links in Section 3.6 between some of these elements of popular music’s concepts of alternative music, and that of Toronto’s own independent or boutique opera scene.
Barry Shank provides a basic framework for understanding the notion of an alternative music scene by exploring punk music practice in Austin, Texas, during the late 1970s.18 Punk musicians represented an alternative view of localized music, politics and culture, which contrasted to the established views of those who prioritized security and a financially stable lifestyle.19 According to Shank, Austin’s culturally charged environment provided the backdrop for intensified alternative music making, due to the influx of artists across all disciplines, who flocked to this liberal minded community. Austin was then establishing itself as an artistic centre, in opposition to the more conservative views consolidated within the state of Texas as a whole.20 Shank’s observations allude to how alternative music scenes are enabled by an influx of artists, liberal minded values and urban diversity, which all fuel an active arts scene.
For Will Straw, the defining elements of alternative rock include cross-pollination, exemplified by the ways in which artists explore different styles organically, while remaining aligned to the backdrop of alternative rock, as opposed to leading their musical output into completely new directions.21 Straw goes on to describe how alternative rock includes a bohemian element in its identity as artists draw on older styles, and re-image them with a new contemporary lens, often
18 Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas.
19 Ibid., 3.
20 Ibid., 114.
21 Straw, “Communities and Scenes in Popular Music,” 472. 42
with a twist of irony.22 Alternative rock is often contained within a specified cultural space, where various defined alternative styles flourish within certain time spans, and thrives on and celebrates its strong elements of diversity.23 The idea of defiance is exemplified in Shank’s description of punk, as audiences expected these artists to perform with an element of risk to themselves, and to be fully united with their musical message, as opposed to the emotionally disconnected portrayals they associated with more mainstream popular performers at the time.24 Shank also outlines the “formalized, stripped-down” nature of alternative punk, with its purity and emotionally charged energy.25 He also notes how many musicians made choices to focus on the fulfillment they achieved through the pursuit of their art, while purposively avoiding the need to associate their musical practice with that of financial gains.26
Alternative music scenes not only align themselves with alternative artistic and social realities, but also an independent, or indie identity, with regards to its commercial output. The Oxford Dictionary of Music defines indie music as a “genre of rock music that emerged in the wake of punk. Although ‘indie’ simply refers to the music’s release on a record label that is independent of the ‘major’ corporations, indie music is frequently characterized by sub- or countercultural elements.”27
The framework of the recording industry in the late 1970s to 1990s provided opportunities for an alternative business outlook to flourish within the industry. In the late 1970s, rock’n’roll fans began to demand point of sale channels independent from that of the mainstream, and sought
22 Ibid., 475.
23 Ibid., 475-476.
24 Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 110-111.
25 Ibid., 116.
26 Ibid., 61.
27 Oxford Reference, “The Oxford Dictionary of Music 6th edition.” 43
their musical choices from small independent record shops.28 According to Simon Frith, recording alternative punk music in the late 1970s was driven by small, independent recording labels and distribution channels, all fueling a “good music” will prevail spirit, which in turn was distributed to like-minded, “serious rock’n’roll” fans.29
Keith Negus situates his ideas against the backdrop of the recording industry in the 1990s with a focus on indie and major recording labels.30 In opposition to the free spirit displayed by small independent record companies and stores, Negus argued that large corporate models within the recording industry hindered both artistic creativity, and audience access to musical recordings.31 Unencumbered by large corporate checks and balances, Negus highlighted the idea that in popular music, small, indie record labels were able to be more in tune with the next musical trends or styles.32
An alternative music scene can also provide an alternative business model, exemplified by smaller, independent companies and an entrepreneurial spirit. Shank describes how such a model thrived from the axis of punk, fueled by those who opposed the corporate scale of the mainstream recording industry, and who preferred to focus on the authenticity of their practice, the quality of their individualized musical tastes and on what Frith describes as their “small is beautiful” business aesthetic.33 Punk’s “do it yourself” mentality, later combined with these afore-mentioned core values, resulted in a thriving entrepreneurial spirit associated with alternative music and its business practices.34
28 Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 96.
29 Frith cited by Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 247.
30 Negus, Music Genres and Corporate Cultures.
31 Ibid., 15.
32 Ibid., 92.
33 Shank; Frith cited by Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 218-219.
34 Shank, Dissonant Identities The Rock’n’Roll Scene in Austin, Texas, 115, 249. 44
Several aspects of Toronto’s boutique opera scene which I will explore in further detail in Section 3.5, resonate with the alternative scenes discussed above. These include elements of cross-pollination, as some companies explore ways of re-imagining their creative output using a contemporary lens, however, continue to retain some elements of traditional opera practice. The non-profit boutique opera companies prioritize a stripped-down identity with a sense of purity to their art, and an entrepreneurial spirit not necessarily motivated by financial incentives, due to their “small is beautiful” aesthetics. Their entrepreneurial spirit is evident in the way many of these companies were founded by artists with their own unique visions.
3.4 Backstage: Canada’s National Opera Scene
In order to provide the context from which Toronto’s non-profit boutique opera companies operate, I will present a brief snapshot of Canada’s national opera scene. The arts world is fluid, with inevitable changes to opera companies, their operations and their mandates will present themselves in the future. The companies discussed are operational as of January 1, 2019.
The national association for opera in Canada lists on their website, Opera.ca, eight regional opera companies outside of Ontario considered mainstream in their approach, in that they produce roughly two to five mainstage operas with orchestra annually in their home location, within an established seasonal period, usually between September and June.35 The opera companies are spread out geographically, located in difference provinces within Canada.
Calgary Opera located in Calgary, Alberta, has been in operation since 1972, and produces three mainstage productions, and an outdoor summer festival. They also maintain community and schools outreach programs.36 Also located in Alberta, Edmonton Opera, founded in 1962, produces two mainstage productions, alongside community and schools outreach programs.37 The city of Winnipeg is the home of Manitoba Opera, founded in 1969, which produces two
35 Opera.ca, “Member Companies.”
36 Calgary Opera, “About Us.”
37 Edmonton Opera, “About Edmonton Opera.” 45
mainstage productions and provides community and schools outreach programs.38 Opera on the Avalon, operating in St. John’s, Newfoundland, is relatively new in relation to the other companies featured on Opera.ca, having been founded in 2009, and produces two mainstage productions and a summer festival, in addition to their community and education outreach programs.39 Quebec City houses Opéra de Québec, founded in 1983, which produces two main stage productions as well as their renowned summer festival, Festival D’Opéra de Québec.40 Also in the province of Quebec, founded in 1980, Opera de Montréal in Montreal produces four mainstage operas, a chamber opera and community and schools outreach programs.41 In British Columbia, Pacific Opera Victoria is located in Victoria, founded in 1979, and produces three main stage operas, as well as their community and schools outreach programs.42 Also in British Columbia, Vancouver Opera located in Vancouver and founded in 1958, produces four to five mainstage productions during its main season and summer festival, in addition to its community and schools outreach programs.43
3.5 Main Act: Toronto’s Alternative Opera Scenes, Boutique Opera at a Glance
The city of Toronto, Canada’s largest, enables a vibrant and diverse urban landscape, which can support a rich and varied arts and culture scene. Statistics provided by the City of Toronto for the year 2017, show a population of 2, 929, 886, with visible minorities attributed to 51.5% of the population, an active immigration policy with 51.2% of its citizens born outside of Canada, as well as 23, 065 people identifying as indigenous. The city’s average yearly salary for people over
38 Manitoba Opera, “The Company.”
39 Opera on the Avalon, “Leadership.”
40 Opéra de Québec, “Our History.”
41 Opera de Montréal, “History.”
42 Pacific Opera Victoria, “About POV.”
43 Vancouver Opera, “Our Mission and History.” 46
the age of 15 for the year 2015 was reported at $47 617, and the average (mean) household income was $98 174.44
Financial support for the arts in Toronto can come from philanthropic and personal sources, as well as from governmental support on a local, provincial and national level, including the Toronto Arts Council,45 Ontario Arts Council46 and the Canada Council for the Arts.47 Arts organizations in Toronto can incorporate as “non-profit organizations,” and can do so federally through the government of Canada if they feel their activities operate at a national or international level, or provincially through the government of Ontario, if they feel their activities are localized within the province.48 They can also apply for charitable status for tax purposes (tax exemption, issuance of tax receipts etc.) through the Canada Revenue Agency.49
Opera as a genre maintains an extensive ecosystem for its operations and productions. Toronto supports a myriad of creative individuals working within the opera industry, with potential roles including: performers, such as opera singers for solos and choruses, supernumeraries (non-singing roles), dancers and choreographers, as well as instrumental musicians for orchestras and chamber ensembles; production leadership such as artistic directors, music directors and drama directors; fight and intimacy choreographers; administrative staff; volunteers; creation led individuals such as composers and librettists; lighting, costume and set designers; theatrical support staff such as stage managers, lighting and sound operators; prompters (who prompt singers onstage); diction coaches (who teach singers language diction as applied to their repertoire); répétiteurs (pianists who aid singers in their role preparation); dressers; hair and make-up personnel; media and bloggers.50
44 City of Toronto, “Toronto at a Glance.”
45 Toronto Arts Council, “Home.”
46 Ontario Arts Council, “Home.”
47 Canada Council for the Arts, “Home.”
48 Canada Business Ontario, “Not-for-profit Guide.”
49 Canada Business Ontario, “Charitable Status.”
50 List based on author’s experience of the opera world. 47
Toronto is home to Canada’s only international level opera company, as well as sixteen small opera companies, two opera schools offering formal training programs, and one professional development opera company. Presenting the operations and mandates of those companies thriving as of January 1, 2019, as well as the individuals who lead them, provides a snapshot of the context for my current study on the city’s non-profit boutique opera companies. All the information examined is available via the public domain.
The Canadian Opera Company is an internationally recognized company, and is the largest producer of opera in Canada, as well one of the largest in North America. Founded in 1950 by Nicholas Goldschmidt and Herman Geiger-Torel, the company is currently under the leadership of Alexander Neef as general director. They operate out of the Four Seasons Centre for the Performing Arts and the Joey and Roby Tenenbaum Opera Centre. The Canadian Opera Company produces six main stage operas per season, presenting a wide range of operatic repertoire, and has an abundant program of recital and chamber work, in addition to their community and education programs.51
The Canadian Opera Company provides the context for a mainstream opera scene in Toronto, and due to its international profile, is in some ways the face of opera in Canada internationally as well. It is a benchmark or standard to which other ways of performing opera can be compared.
The award-winning Opera Atelier was founded in 1983 by two artists with a dance background, Marshall Pynkoski and Jeanette Lajeunesse, who continue as its leaders. They specialize in presenting operatic repertoire from the 17th and 18th century in period settings, with a strong dance and ballet influence on their productions. The Elgin Theatre is home to their productions. Opera Atelier are partnered with the Tafelmusik Baroque Orchestra and the Tafelmusik Chamber Choir. Two main stage operas are produced per season, and the company has an extensive international touring mandate, regularly bringing their productions to the USA, Europe and Asia.
51 Canadian Opera Company, “Home.” 48
In addition to their main work, Opera Atelier has an education program.52 Both Marshal
Pynkoski and Jeanette Lajeunesse are 2018 appointees to the Order of Canada.53
Toronto Operetta Theatre was founded in 1989, by Guillermo Silva-Marin, a classical tenor, opera director, writer and impresario. It is Canada’s only professional company solely dedicated to operetta repertoire. The company stages four productions per season at the Jane Mallet Theatre at the St. Lawrence Centre for the Arts and focuses on presenting much loved classics and rarely heard gems from the operetta repertoire. Toronto Operetta Theatre also has a mandate for nurturing local talent, showcasing both young and established artists alike.54
Voice Box: Opera in Concert was founded in 1974 by the late and legendary opera coach Stuart Hamilton C. M., as a vehicle for showcasing young Canadian talent. The company is committed to staging unknown operas written by long-established historical composers producing ninety Canadian premieres to date, as well as featuring new and contemporary works. Productions are mounted at the Jane Mallet Theatre at the St. Lawrence Centre for the Arts. The company is currently under the direction of Toronto Operetta Theatre founder Guillermo Silva-Marin. Voice Box: Opera in Concert present three operas per season, in a minimalist concert setting free of sets and costumes, with staging that showcases the music and the human voice.55
Given their longevity by maintaining their operations for the past 20-35 years, Opera Atelier, Toronto Operetta Theatre, and Voice Box: Opera in Concert create a specialized yet established opera scene. They are smaller in nature than the Canadian Opera Company, however, maintain both international and localized profiles. Their creative output focuses on specialisms, such as period repertoire, operetta, and presenting opera in its purist form, without sets.
52 Opera Atelier, “Home.”
53 Ludwig Van Toronto, “The Scoop: Opera Atelier Directors Awarded Order of Canada.”
54 Toronto Operetta Theatre, “Home.”
55 Voice Box: Opera in Concert, “Home.” 49
Muse 9 Productions, the newest addition to the Toronto opera scenes, was founded in 2018 by a young duo which consists of operatic stage director and choreographer Anna Theodosakis, and pianist and vocal coach Hyejin Kwon. Anna Theodosakis is involved in both mainstream and indie opera productions. She is an assistant director for the Canadian Opera Company and a drama coach to their Ensemble Studio, as well as being a team member of the Indie Opera Toronto’s company MYOpera.56 Muse 9 Productions has a multidisciplinary ethos and aims to “showcase unheard voices in the Indie opera scene in Toronto, and seek out talented individuals across artistic mediums who inspire us to collaborate and tell feminist stories in unique ways.”57 Although not listed on the Indie Opera Toronto website, Muse 9 Productions’ publicity materials and artistic involvement through Anna Theodosakis, align this company with the ethos of the specific indie opera in Toronto, which will now be explored in more detail.
Indie Opera Toronto is a network of opera producers representing the vibrant “new generation opera scene”58 in Toronto. The collective currently has eleven companies: Against The Grain Theatre, Essential Opera, FAWN Chamber Creative, Liederwölfe, Loose Tea Music Theatre, MYOpera, Opera 5, Re:Naissance, Tapestry Opera, The Bicycle Opera Project and Urbanvessel.59 Indie Opera Toronto was aided by an audience development grant from Opera America in 2015, which they used to re-enforce their brand of independent opera in Toronto, and to unify their networks and digital communications and presence.60
Against the Grain Theatre was founded in 2010 by four young artists on the opera scenes in Toronto, director Joel Ivany, conductor Topher Mokrzewski, soprano Miriam Khalil and arts publicist Cait Coull. Joel Ivany and Topher Mokrzewski continue in their roles as artistic director and music director respectively, with Miriam Khalil continuing as an artistic advisor and
56 My Opera, “Our Team.”
57 Facebook, “Muse 9 Productions.”
58 Indie Opera Toronto, “About.”
59 Ibid., “Home.”
60 Ludwig Van Toronto, “The Scoop: Toronto’s Indie Companies Receive Major Grant from Opera America.” 50
occasional featured performer. Against the Grain Theatre is an award-winning company which specializes in presenting classic repertoire re-invented for a contemporary audience within a chamber opera aesthetic, and they pride themselves on taking opera into new and unusual spaces. They usually present two main productions a year, host free monthly opera pubs at the Amsterdam Bicycle Pub, and teach an intensive summer course for young singers. They are company-in-residence at the Canadian Opera Company and have held summer residencies at the Banff Centre for Arts and Creativity. They have also recently launched their own recording label, Against the Grain Records, with their first recording of Osvaldo Golijov’s chamber piece for soprano Ayre, released in 2018.61
Essential Opera was founded in 2011 by two classical sopranos on the Toronto scenes, Maureen Batt and Erin Bardua. Their mandate is to present opera that features the “essentials”62 in concert format, performed in beautiful venues, free from sets and costumes, enabling them to keep ticket prices down and their productions accessible to wider audiences. They feature performances from the classic operatic repertoire to that of new works, with a focus on commissioning works by Canadian women composers. Recent collaborations include a production of Puccini’s Gianni Schicchi with Orchestra Toronto and they are working towards a new commission by Canadian composer Monica Pearce called December.63
FAWN Chamber Creative launched in 2012 and is dedicated to creating new Canadian works in a multidisciplinary fashion, in order to build bridges to new arts-interested audiences who may not have previously enjoyed classical music and opera. FAWN Chamber Creative collaborates with other artists outside the music genre, as well as with musicians who work with styles outside that of classical music. A young director on the Toronto opera scenes, Amanda Smith, is the founder of FAWN Chamber Creative and continues in the role of artistic director. Their programming includes collaborative concerts with thematic material linked to that of their fully
61 Against the Grain Theatre, “Home.”
62 Essential Opera, “About.”
63 Ibid., “Home.” 51
staged operas, as well as performances with musicians outside the classical music genre. FAWN Chamber Creative performs in new and usual venues.64
Liederwölfe was originally founded in Montreal, in 2005, by co-directors Lindsay Michael, an award-winning radio and opera producer, and Francesca Perez, an arts administrator. The company is committed to producing opera in an accessible and “party atmosphere,”65 bringing their productions to new and unusual spaces such as hotels and bars. True to their alternative opera roots, Liederwölfe regularly collaborate with indie rock musicians, such as Malajube and Voivod, and bring their productions to popular music festivals.66
Loose Tea Music Theatre was founded in 2013 by Alaina Viau, a director, conductor, and stage manager, who continues in the role as the company’s artistic director. Their productions focus on revamping classical music, by presenting it with new librettos and themes led by present day social issues, and thereby creating a “cultural entry-point”67 between opera and contemporary concerns. Loose Tea Music Theatre have also produced an ongoing original show called “Whose Opera Is It Anyway?” featuring Canada’s only improv opera group, which combines comedy and operatic improvisation, loosely inspired by the TV show, “Whose Line Is It Anyway?” This production has been performed monthly since 2017, at the Comedy Bar, followed by the Bad Dog Company, and is currently in residence at the Social Capital.68
MYOpera was founded in 2010 by opera singer Kate Applin, who at the time was fresh out of music school. Kate continues with the company in the role of artistic director and has also completed an MBA in marketing. MYOpera’s mandate is to provide performance and creative experience to young professionals from all aspects of the opera world, from singers, conductors,
64 Fawn Chamber Creative, “Home.”
65 Indie Opera Toronto, “Liderwölfe.”
66 Liederwölfe, “Home.”
67 Loose Tea Music Theatre, “Home.”
68 Ibid. 52
and directors to designers and stage managers. Programming for MYOpera focuses mainly on operatic standard repertoire, which provides emerging artists with the opportunity to hone their craft by performing mainstream operas in a professional environment.69
Opera 5 was founded in 2011 by three young artists on the Toronto opera scenes, Aria Umezawa a director, writer and producer, Maika’I Nash, vocal coach and répétiteur, and Rachel Krehm, soprano. Rachel Krehm continues with the company as their general director. Opera 5 is an award-winning independent opera company, which presents works for audiences with a “wide range of tastes,”70 from loved classics such as Rossini’s The Barber of Seville, to intimately staged chamber works by Hindemith and Shostakovich. The company’s original online presence has garnered them international acclaim, especially noting their YouTube channel which features “Opera Cheats,” a look at operatic plots creatively whittled down to under five minutes of video footage, as well as a humorous peek at opera through the lens of “cat actors,” with a video series called “Opera Cats.”71
Re:Naissance was founded in 2013 by two Canadian musicians, Debi Wong, mezzo-soprano and Christopher Bagan, keyboardist. Debi Wong continues as the company’s artistic director. The company operates out of Vancouver and is proud to be aligned with Indie Opera Toronto, and to share their productions with audiences in Toronto. Re:Naissance is dedicated to “re:Imagine and re:Write opera for the 21st century”72 by producing performances that create bridges between historical context and a modern contemporary lens. Part of the company’s mandate is to also break down the barriers between “artist and audience” and to explore an element of “experimentation” to their work.73
69 MYOpera, “Home.”
70 Opera 5, “About.”
71 Ibid., “Home.”
72 Indie Opera Toronto, “re:Naissance.”
73 Ibid. 53
Tapestry Opera is a part of the contemporary opera scene, and its programming is solely focused on “creating, developing and performing original Canadian opera.”74 The company was founded in 1979 by the conductor and music director Wayne Strongman, a member of the Order of Canada. Michael Hidetoshi Mori is currently leading Tapestry Opera, as artistic director. Their programming is dedicated to bringing new Canadian operatic works to life in “provocative”75 ways, performed by world class musicians and singers. Tapestry Opera’s home is at the Ernest Balmer Studio in Toronto’s Historic Distillery District, however the company also performs in new and unusual venues. Enabling new opera on a national level, Tapestry Opera is actively forming partnerships with various opera and theatre companies across Canada. Michael Hidetoshi Mori and Tapestry Opera were leaders in the formation of Indie Opera Toronto, and in view of this are supporters of the alternative opera scene.76
The Bicycle Opera Project was founded in 2012 by two young singers in Toronto, Larissa Koniuk and Nadia Chana. The Bicycle Opera Project has a strong environmental mandate, and is Canada’s only opera company that tours exclusively via the bicycle. All of the company’s programming is creatively curated so that sets, costumes, singers and instrumentalists can travel to their venues via bicycle. The Bicycle Opera Project is committed to bringing new Canadian opera in English to communities that may not have previously had the opportunity to hear these works performed, and focuses on “closing the gap between audience and singers by performing in intimate spaces.”77
Urbanvessel was founded in 2006 by the composer, performer and sound artist Juliet Palmer and architect Christie Pearson. Juliet Palmer continues as the company’s artistic director. Urbanvessel features multidisciplinary performance art as a vehicle for highlighting the human voice in a dramatic way. Each new project is programmed with a “new interdisciplinary team” so
74 Tapestry Opera, “Home.”
75 Ibid.
76 Ibid.
77 The Bicycle Opera Project, “About Us.” 54
that “artistic decisions are made collaboratively.”78 Urbanvessel’s inspiration for projects is drawn from the surrounding environment, from “sound, politics, fetishes, history and ritual, to poverty, architecture, music and sports.”79 The company works in new and unusual spaces, with a focus on the outdoors, with numerous free performances in parks and by water sources.80
In order to complete my exploration of the opera scenes in Toronto, I include four companies which have ties to formal education and provide professional opportunities for opera students and emerging artists. These companies and education platforms show that alongside the previously explored opera scenes (mainstream; established and specialized; and indie opera) there is a pool of student opera singers in Toronto. Student opera singers contribute to the overall opera scene in Toronto by becoming the potential young talent to be showcased in professional settings, as well as providing the potential to form smaller roles within productions, such as chorus singers and understudies. They are also active on the overall Toronto opera scene in terms of potential opera audiences, as dedication to the art form ensures that they are an opera- interested segment. Both Toronto City Opera and COSA Canada provide professional opportunities for opera students in formal education, as well as for emerging young artists who have finished their formal training. U of T Opera and The Glenn Gould School are Toronto’s formal education platforms for opera students that have completed their high school training.
Toronto City Opera was established in 1946 as an Opera Workshop in collaboration with Central Technical School and the Toronto School Board, by James Rosselino. In 2017 Toronto City Opera underwent a revitalization, and streamed their activities to provide a professional platform for emerging artists by having them perform all solo roles, and nurturing opera in the community by establishing an opera chorus of amateur singers. Toronto City Opera produce two fully staged operas from the traditional operatic repertoire a year, accompanied by piano, at the Al Green
78 Urbanvessel, “About Us.”
79 Ibid.
80 Ibid., “Home.” 55
Theatre. Jennifer Tung, a Toronto based vocal coach and conductor is the new artistic director of Toronto City Opera.81
COSA Canada, short for The Centre for Opera Studies and Appreciation, was founded in 2006 by artistic director Darryl Edwards, in order to provide professional opportunities for emerging young opera singers, and also to educate audiences at large about the world of opera. Darryl Edwards is also an Associate Professor in Voice at the University of Toronto.82 Through COSA Canada’s established connections with the professional operatic community in Toronto and throughout Canada, young opera singers participate in “fully staged productions with orchestra, opera premieres, operas in concert, masterclasses, educational events and opera based social events.”83 Programming focuses on mainstream operatic repertoire, operetta, and also on Canadian premieres of new works.84
U of T Opera is a formal training opera school and operates out of the University of Toronto’s Faculty of Music, offering full-time schooling that results in either a diploma or a Masters degree. The program, founded in 1946, accepts through a rigorous audition process, around twenty young singers per year. Currently the program is led by co-artistic directors Sandra Horst and Michael Albano. Sandra Horst is also currently the chorus director for the Canadian Opera Company.85 U of T Opera produces three fully staged productions with orchestra, as well as various opera vignettes, recitals and masterclasses throughout the academic year. The opera school is housed at the Faculty of Music’s Edward Johnson Building and mainstage productions are performed at the MacMillan Theatre.86
81 Toronto City Opera, “Home.”
82 University of Toronto Faculty of Music, “Darryl Edwards.”
83 COSA Canada, “About.”
84 Ibid., “Home.”
85 Canadian Opera Company, “Learn.”
86 U of T Opera, “Home.” 56
The Glenn Gould School, established in 1997, is the Royal Conservatory of Music’s post graduate training program for young musicians, and focuses solely on professional development. Through their Vocal Studies and the Price Opera Program, they produce two operas per year, one pared down production in the intimate Mazzoleni Concert Hall, and one fully staged production with orchestra in Koerner Hall. The program also features an annual vocal showcase, in addition to recital, masterclass and chamber music performances. Canadian soprano Adrianne Pieczonka is the newly appointed vocal chair of The Glenn Gould School, taking up the post in May, 2019.87
In order to complete the snapshot of the eclectic and vibrant opera scenes in Toronto, two companies which have recently ceased operations deserve mention, due to their notable contributions in the past: Toronto Masque Theatre and Queen of Puddings Music Theatre.
Toronto Masque Theatre was founded in 2003 by the tenor, conductor, violinist and teacher, Larry Beckwith.88 The company ceased operations in 2017, after producing “sixty critically acclaimed productions, ranging in repertoire from the late Renaissance to the present day, including original works from Canadian artists.”89 Toronto Masque Theatre was a unique venture, being “one of the only companies in the world devoted to the performance and creation of masque, an art form that fuses music, dance and theatre.”90 Their multidisciplinary and specialist approach to this rare art form ensured their substantial contribution to the opera scenes in Toronto between 2003 and 2017.91
Queen of Puddings Music Theatre was founded in 1995 by the pianist, John Hess and cellist, Dáirine Ní Mheadhra. Their programming was dedicated to setting new Canadian works in a
87 The Glenn Gould School, “Home.”
88 Bach Cantatas, “Larry Beckwith.”
89 The WholeNote, “Toronto Masque Theatre.”
90 Ibid.
91 Ibid. 57
chamber opera setting, which valued a strong physical approach to theatrical performance.92 The company ceased operations in 2013 after nearly twenty years of nurturing local opera talent and producing groundbreaking performances. Queen of Puddings Music Theatre did not follow regular seasonal patterns, and chose to produce only when they had “something significant to say.”93 They prided themselves on their “high artistic standard,” ability to bring “international profile” to the works they showcased and their “continued financial stability.”94
3.6 Concluding Remarks
Toronto’s urban landscape nurtures an abundance of small non-profit boutique opera companies and the creative individuals who strive to establish and maintain this localized operatic terrain. Artists involved in opera have flocked to this diverse city, which aligns with the literature on musical scenes.
Toronto creates the “cultural space” wherein the mainstream and internationally renowned Canadian Opera Company, founded in 1950, with its traditional programming and practice, provides the historical backdrop from which the various smaller opera companies, their personnel and their inventive productions and musical ideas, interact and evolve. The Canadian Opera Company provides a traditional opera scene, aligned with an elite international image, and can be thought of as a mainstream standard from which different opera scenes can deviate from the operatic genre. Cross-pollination occurs, as the other smaller opera companies in Toronto retain elements of traditional opera, however move forward by re-imagining their work through a contemporary lens, and by focusing their activities on specialisms within the operatic genre. In this sense they are breaking the boundaries of traditional opera and creating opera scenes with a sense of newness.
92 The Canadian Encyclopedia, “Queen of Puddings Music Theatre.”
93 Ludwig Van Toronto, “Sad News: Toronto’s Queen of Puddings Music Theatre to Cease Operations at the End of Season.”
94 Ibid. 58
Apart from the mainstream and elite opera scene provided by the Canadian Opera Company, different opera scenes are flourishing in Toronto. There is an established and specialized opera scene, created by companies such as Opera Atelier which focuses on period productions of the 17th and 18th century, Toronto Operetta Theatre which produces operetta repertoire and Voice Box: Opera in Concert, which caters to providing platforms for emerging operatic talent and presenting opera in its purist form, without sets and costumes.
Then there is the indie opera scene, which consists of the eclectic and in most cases, recently established opera companies. This opera scene is centralized by Indie Opera Toronto as well as Muse 9 Productions. Cross-pollinating from the indie opera scene is the contemporary opera scene, led by the innovative and established Tapestry Opera, which has been in operation for 30 years now. Newness is also a goal for many of the companies in the contemporary opera scene, such as FAWN Chamber Creative, The Bicycle Opera Project, and Urbanvessel which along with Tapestry Opera, focus on contemporary opera, often highlighting Canadian composers in their programming.
The seeds that nourish the mainstream and elite; established and specialized; indie opera; and contemporary opera scenes are contained within the student scene, which can also include some emerging young artists. Formal training companies such as The Glenn Gould School and U of T Opera, as well as professional companies which focus on hiring students and young emerging artists, such as COSA Canada and Toronto City Opera, contribute to this student scene.
All of the small, or non-profit boutique opera companies operating in Toronto are innovative in their artistic practice. The production output of all these companies collectively is too cumulative to discuss in detail, however certain activities can be highlighted which align with popular music studies literature. There is a sense of the cutting edge in these Toronto opera scenes, as many of the non-profit boutique opera companies have a multidisciplinary approach, such as Opera Atelier, Muse 9 Productions, FAWN Chamber Creative, Loose Tea Music Theatre and Urbanvessel. Toronto Operetta Theatre and Voice Box: Opera in Concert also occasionally produce new works, but their focus is on presenting rarely performed historical repertoire. Companies such as Against the Grain Theatre, FAWN Chamber Collective, Loose Tea Music Theatre, Re:Naissance, Tapestry Opera and Urbanvessel achieve a sense of newness by
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exploring non-standard venues for their productions. Presenting opera in new and unusual spaces breaks the boundaries of the traditional opera experience, for performers and opera audiences alike
The overall Toronto opera scene, including its alternative opera scenes, have been evolving over time. There was an influx of companies surfacing between 2010 and 2019. As of January 1, 2019, of the seventeen non-profit boutique opera companies featured in this chapter’s “snapshot,” nine (around half) were founded between 2010 and 2019, with three founded from 2005 onwards. Five of the companies had earlier origins, with two founded in the 1980s, two in the 1970s, and one being the oldest company currently operating in Toronto, Toronto City Opera, founded in 1946. The Canadian Opera Company, true to its role as the historical backdrop from which boutique opera flourishes, has been in operation since 1950, providing the consistent context for alternative opera scenes.
In the introduction, the global financial crash of 2008 was mentioned as a potential influence on the diminished opportunities I and others within my personal extended contacts experienced as opera singers, in London, UK, during the immediate years after the crash. This global financial crash was subsequently followed by the longest bull market in USA stock market history, which has been an economic factor for ten successive years as of March, 2019.95 A bull market, which can be defined as “a stock market in which prices are expected to rise. A widespread belief that prices are more likely to rise than to fall, at least in the immediate future, leads investors to buy shares or defer sales.”96 As the economies of Canada and the USA can be closely aligned, perhaps this period of expansion could be a contributing factor to the influx of non-profit boutique opera companies that commenced their operations between 2010 and 2019. Although this is an interesting point to note, further exploration of this subject is beyond the current scope of this study.
95 Frank Holmes, “Can the Bull Market Run for another 10 Years,” Forbes, March 7, 2019.
96 Oxford Reference, “A Dictionary of Economics 5th edition.” 60
Toronto’s opera scenes are breaking the boundaries of the traditional opera genre. Many of the non-profit boutique opera companies retain elements of the standard operatic practice, thereby maintaining their relationship to the original concept of an operatic genre, while still deviating enough in their productions and musical ideas to form their own, independent and unique interpretations of opera. For example, Against the Grain Theatre, Loose Tea Music Theatre and Re:Naissance re-imagine traditional standard operatic repertoire, by updating librettos through a contemporary lens, which establishes links to both the old and the new operatic style.
Most of the non-profit boutique opera companies project strong images and personas, exemplified by the way they present their online material and social media, their unusual programming styles, and their venue choices. Many have a multidisciplinary approach, with methods deviating from standard operatic practices with regards to their music, productions and venues, which exhibits a sense of cross-genre exploration, and also develops their respective group personas. There is a sense that many of these companies could exist in some way as a result of Keith Negus’ “fulfilment-frustration axis,” in order to break free from the confines of standard operatic practice and morph the genre into an art form tailored for a more contemporary audience.
The concept of an alternative music scene closely aligns with that of the activities engaged in by the non-profit boutique opera companies in Toronto. The diverse city of Toronto attracts many artistic personnel capable of sustaining an active overall opera scene. Elements of cross- pollination between genres, the re-imagining of older works through a contemporary lens, and a celebrated sense of diversity all link Toronto’s non-profit boutique opera companies with that of an “alternative” music scene, as seen through the theoretical framework of popular music studies. There is also a pared down and purist aesthetic to many of the non-profit boutique opera companies, for example Essential Opera and Voice Box: Opera in Concert, who present their productions free from sets or costumes. An alternative ethos is evident in many of the artistic choices, to name but a few such as The Bicycle Opera Project’s concept of touring on bicycles, Tapestry Opera’s dedication to the creation of Canadian works, Loose Tea Music Theatre’s opera improvisation show, and Opera 5’s innovative and far reaching online presence through their “opera cheats” on YouTube. Finally, the self-elected name, Indie Opera Toronto chosen for
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the collective of eleven small opera companies in Toronto established in 2015, confirms an alternative or independent aesthetic and approach to opera.
The alternative business model of independent record labels also aligns with Toronto’s non- profit boutique opera scenes. Smaller opera companies are not encumbered by the large financial responsibilities of a prominent organization such as the Canadian Opera Company. They are able to operate with a cutting-edge mentality, and experiment with new ideas. Furthermore, they bypass the gatekeepers of opportunity established by larger opera companies such as the Canadian Opera Company, who in many ways decide which opera singers will be heard in Toronto. By producing their own productions, and in some cases bridging the gap between student and professional opera singer, for example with MYOpera and COSA Canada, the non- profit boutique opera companies provide necessary platforms for nurturing and showcasing local talent.
In this chapter I provided an exploration of opera scenes in Canada and Toronto, drawing on examination of several concepts taken from the popular music studies literature. In the next chapters, I will explore the on-the-ground life of a sample of non-profit boutique opera companies with its challenges and successes.
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Chapter 4 Boutique Opera on the Ground: Background and Identity
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Boutique Opera on the Ground: Background and Identity
We major in public relations, To reach all our people and stations, So that when we sing, there’s so much we bring, To muse them from their obligations. (Gianni Schicchi) 4.1 Introduction
What is the organizational nature of the twelve non-profit1 boutique opera companies whom the participants in my field study represent? Having explored a snapshot of the Canadian opera scene as of January 1, 2019, both nationally and locally in Toronto, I will now focus on the background information provided by participants in the current study, through an online questionnaire sent to them prior to the interviews. I will also present background data regarding some of the larger national opera companies for comparison purposes. Finally, I report on the current field study findings regarding organizational identity for the non-profit boutique opera companies, which encompasses goals, mission, brand and image.
4.2 Background Information
The background information for the non-profit boutique opera companies which is presented in this section covers the following: years in operation, annual budgets, personnel, annual productions, the roles that founders undertook within the non-profit boutique opera companies, and organizational non-profit and charitable status as registered with the governments, either at the provincial or federal level in Canada.2
1 All of the boutique opera companies surveyed indicated that they considered themselves as non-profit organizations.
2 In reporting organizational data from the participating boutique opera companies, apart from “all” and “one,” the following expressions are used: data from 2-4 companies are described as by “a few,” from 5-7 companies as by “about half,” and by 10-11 companies as by “almost all.” Otherwise, sample proportions are used such as ¾ or 75% for data from 9 companies. 64
In Toronto, between 2009-2013, the non-profit boutique opera scenes saw a surge in growth, with about half of companies, 58%, establishing their operations at this time, and continuing to do so through to 2019. These non-profit boutique opera companies are relatively new in their operations and mandates, however they have shown their resilience by effectively maintaining their activities for 6-10 years. Some of the companies are more established, with one in operation for 16-20 years, and a few in operation for more than 30 years. Only a few of the participants are more recent to the scenes, having been in operation over the past 1-5 years. (See end of thesis: Table 1).
In order to provide some context for yearly operational budgets for opera, financial figures provided by larger opera companies in Canada by Opera America are investigated. These financial reports contributed to the research undertaken by Opera America in order to produce their annual field report for 2017.3 The five opera companies surveyed by Opera America are Canadian Opera Company, Manitoba Opera, Pacific Opera Victoria, Vancouver Opera and Calgary Opera. The net operating expenses of these five companies, on average (mean) for the year 2016, was $2 616 384.4 However, their net operating income, on average (mean) was $2 531 405, creating an average (mean) deficit of $84 979.5 These findings can show that despite having substantial operational budgets, maintaining fiscal health still poses a challenge for larger opera companies within Canada.
Yearly operational budgets for the participating non-profit boutique opera companies are relatively small, and none of them operates an annual budget of a million or more. About half of companies reported operating on an annual budget of $25 000 or less. A few companies are operating in each of the annual budget categories of $25 000-$49 000, $50 000-$99 999, and $100 000-$499 999. Only one company is operating an annual budget of $800 000-$999 999. Financial resilience and adaptivity are shown by the companies, as they are operating on annual
3 Opera America. “Opera America Annual Field Report 2017.”
4 Opera America. “Opera America Annual Field Report 2017,” 81.
5 Ibid. 65
budgets far less substantial than those of the larger regional opera companies in Canada. In comparison, nine of the participating companies, 75%, are operating with annual budgets smaller than the average (mean) of the $84 979 deficit reported by the five Canadian opera companies surveyed by Opera America. (See end of thesis: Table 2).
Participating non-profit boutique opera companies also operate with limited resources in terms of paid administrative personnel. Half of the companies reported that they had no staff, and almost half are operating with a small administrative team of 1-5 people. Only one company indicated operating with a staff team of 6-10. However, several companies indicated relying on volunteers, with eight reporting an unpaid team of 1-5 people. (See end of thesis: Tables 3 and 4).
Annual productions produced by participating non-profit boutique opera companies ranged from 1-5 per season, with about half producing one show, and a few producing 2-3 and a few producing 4-5. The amount of show dates per production varied from 1-10, with half producing 2-5 show dates, and a few producing more than 10 show dates. Despite the challenges posed by limited financial and human resources, the companies are actively contributing to the opera scenes in Toronto by keeping up with their annual productions. Furthermore, eight (67%) of the companies reported that they produced multiple show dates within each production. (See end of thesis: Tables 5 and 6).
Various ticketing systems were favoured by participating companies, and they sometimes used different options according to their evolving needs. External third party online ticketing systems were used by eight companies, with a few using ticketing systems provided by the venues where they presented their performances. Only one company had its own in-house ticketing system. (See end of thesis: Table 7).
Almost all, 92% of the participating non-profit boutique opera companies, were founded by individuals who took on a role within the organization, with eight of the participants reporting that the founder still had an active role in operations. Participants reported multi-faceted roles that their founder, or in a few cases founders undertook, listed here in decreasing degree of occurrence: artistic director, stage director, performer and composer, and music director/
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conductor.6 These findings show that participants who founded non-profit boutique opera companies in Toronto come from a wide variety of musical and theatrical specialties. The role of artistic director is a broad one, which can include a myriad of roles, including: artistic vision, program planning, hiring of artistic and administrative personnel, administration, fundraising and organizational brand.7 In view of this, the reported prominence of the role of artistic director, as undertaken by founders, aligns with the wide spectrum of work founders could have undertaken within their organizations. (See end of thesis: Tables 8 and 9).
Eight of the participating non-profit boutique opera companies were incorporated as a non-profit organization with either the provincial government of Ontario, or the federal government of Canada. About half of the companies (5), were registered charities with the government of Canada. Of those companies not registered as either non-profit or as charities, all of them considered their operations to fall under a non-profit business model. (See end of thesis: Table 10). Based on this data, in reporting findings or discussing these opera companies, they will be identified from now on as either “boutique opera companies” or “opera companies.”
Although participants were not asked directly about their choice of venue, this information was touched on during the interviews. Two participants were operating out of a home venue, i. e. a space where they consistently performed the majority of their productions. This continued alignment with a particular performance space contributes to organizational image, and to the experiences of their audiences. As ten participants were not aligned with a home venue, their activities adapted to their specifically chosen, and continuously evolving performance spaces. Venues mentioned by participants as alternatives to having a home venue, included: a beach, a bike shop, outdoor locations, bars, an art gallery, touring venues, host festivals, host arts organizations and an old barn. These alternative spaces represent some of the new and unusual venues that participants are exploring during their yearly seasons and productions.
6 Each opera company could list several roles and several founders, 11 reported.
7 List based on author’s experience of the opera world. 67
4.3 Organizational Identity
4.3.1 Organizational Goals and Mission
Participants, as representatives of their boutique opera company, were asked to discuss the organizational goals and mission of their company. About half of the participants worked within an ethos that supported both their company and their community. Themes that emerged from the interviews with participants were “to change the world” (Lauretta) through opera; to enhance the relationship between artists and audiences; to become more well known as an art form and organization; and to bring opera alive. A few participants explained their ideas on relationship- building between artists and audiences, as shown below:8
To develop the network on both sides, artists to community and community to artists, so that we can make a better world. (Gianni Schicchi) Our goals are to nurture the next generation of opera goers. // Then on the performer’s side it’s certainly to employ Canadian artists and to give opportunities to singers and artists, musicians in Canada and to highlight Canadian works.9 (Liù) Another participant highlighted their commitment to bringing opera to life, as illustrated here:
Our goal is to bring opera back into being a living art form in the perception of both the general public and the opera sector. // New opera is not necessarily about weird sounding music like the academic new music scene can be, but it’s also a great potential to make opera actually sell again to the general public, to bring new people in. // To try to align as many goals per show with finding that sweet spot of striking the heart of the contemporary Canadian. That’s kind of allowing opera to be redefined as great music, great drama and great vocal power combined, often with great spectacle. (Rinuccio)
8 In reporting comments from participants/ representatives of boutique opera companies, apart from “all” and “one,” the following expressions are used: data from 2-4 participants are described as by “a few,” from 5-7 participants as by “about half,” and by 10-11 participants as by “almost all.” Otherwise, sample proportions are used such as about ¾ or 75 % for data from 8-9 companies.
9 In quotations, square brackets, ([ ]), indicate clarifications of the quotation’s meaning. Three dots (…) indicate where a sentence or part of it has been removed for the sake of conciseness. Oblique bars (//) indicate where two or three sentences have been removed or where the question is taken from two paragraphs in the manuscript. When participants offered information which could identify their opera company, in order to preserve anonymity, in the comments taken from transcriptions from the interviews, a replacement word was used without the use of square brackets as listed below: name of opera company - our opera company; specifics about a relative who acts as a support or advocate - a relative. 68
A few participants incorporated their unique approach to logistics, such as touring, transportation and unusual venues, into their mission and goals. Another participant commented on how “You will find that almost all companies’ geneses were artist motored. That at the beginning of any of these companies, there was an artist behind it” (Marcello), showing that many boutique opera companies are start-ups led by artists themselves. Other themes that contributed to organizational mission and goals were:
• supporting emerging artists; • creating a supportive work environment; • providing on the job training opportunities for young singers.
Almost all of the participants fused elements of their productions into their goals and mission. A few participants focused on featuring Canadian works and artists, while a few enjoyed highlighting their multidisciplinary approach. One participant discussed how their multidisciplinary approach is also the foundation of their audience-building activities, as explained here:
Our main mission is to create and produce Canadian classical music in interdisciplinary Canadian classical music and opera, but the interdisciplinary part is actually really important. That interdisciplinary part is our audience-development aspect. And I truly believe that that is the most important part of us gaining new audience members without having to make work - quote unquote - ‘accessible.’ I mean it’s accessible by means of being intersectional. And it’s accessible because we’re showing people how they can be interested in this work. (Suor Angelica)
The telling of contemporary stories through opera was a feature showcased by a few participants, which they felt kept their work relevant, as illustrated by one participant below:
I think that really is so important now, and to listen … I know it’s important and I’m willing to just say, ‘here’s the stage’ and to take that audience that we have cultivated and say, you know, ‘Trust me, these are people that need to be heard - now.’ So, I think that as much as I love ‘Dido and Aeneas,’ [opera by Henry Purcell] you know, I think it’s time to take a little break from that, and to tell stories that need to be told. (Rudolfo) A few participants integrated their passion for producing non-standard repertoire into their goals and missions, either as contemporary compositions, or the rediscovery of rarely performed historical repertoire. Another participant (Musetta) highlighted the power of producing opera in the vernacular, in order to remove barriers, and to create a space where audiences feel connected to the language and to the stories being told. 69
4.3.2 Organizational Brand and Image
About half of the participants used colorful language when describing their organizational brand and image, as illustrated below:
• “exploratory creative entity;” • “whimsical;” • “fun and empowering;” • “living breathing opera;” • “joyful;” • “surprise;” • “beauty in the unexpected;” • “electrified;” • “beauty and provocation;” • “richness.” Participants used terms to describe the scene at their events, in terms of the people one would expect to see both off and on stage, such as “hip people // [and] adventurous older patrons” (Rinuccio) as well as “We’re not big on divas.” (Liù)
The most prominent theme that emerged from interviews with participants about their boutique opera company’s brand or image, was that of opera dynamics, i. e. the interplay between opera as a traditional genre and its new interpretations, venues and contemporary social contexts. About half of participants referred to how their views on the dynamics of opera shaped their concepts of brand and image. A few participants discuss their thoughts in more detail below:
It would be similar to a very joyful, reliable, training restaurant for young chefs where people can go and have a good meal with people emerging in the industry. The same thing, like George Brown has for their restaurants. The same thing for young singers. (Gianni Schicchi) We take this great tradition of composition and vocal skills from the bel canto training style where singers can really do things that no other singers can do. And we combine this with the possibilities of electronic music and of world music and of presenting things in new ways, you know, site specific stagings, and immersive stagings, having people have food and drink while they are doing things, and maybe incorporate them into the show because it’s such a part of supposed high culture now in Canada, is the food scene. The brand is meant to feel adaptive and, in a way, we don’t want to have a style of show necessarily, but we want to have a style of experience. (Rinuccio) Telling stories that are relevant to contemporary society. // It means that we’re going to update the story or tweak it so that it speaks to contemporary issues and things that people are facing today. I want my casts on stage-, I want to make sure there’re always at least half people of color on stage. I want to make sure that women are represented in 70
leadership positions. I want to make sure that our shows are accessible to as many different kinds of people that would normally face barriers. So, I want that ‘opera is for everyone’ to be our brand and that opera is relevant as well. (Lauretta)
Artistic output was an influence on brand and image, with a few participants mentioning that their artistic vision led their activities in this respect. Their ideas are explored in further detail here:
We are in a situation right now where things are moving a little bit slowly, which is fine because we’re kind of finding our way, and I don’t want to act too quickly because imaging and branding can really lock you into something. // Because what’s important is the art. (Rudolfo) The core message that we try to portray is that we’re about art and creative pursuits. And in the imagery that we present for our season posters, and any time we do a video that is to be a teaser, the way that I want it to be presented is really about us as artists. // If we can show that paired with some really interesting video work, something else that also would be interesting. And it’s not to over-ride, I think that’s the thing that people maybe in our industry think about, like ‘oh, well is it overshadowing?’ It’s not. If you’re looking at-, and this is important in terms of the brand-, if you’re showing yourself and the work as being art-centric, then it all should be able to be married together. (Suor Angelica)
A few participants highlighted that their brand and image was led by audience perceptions, and the negative stereotypes that could be associated with opera as a genre. Breaking the barriers posed by negative preconceptions that audiences could experience, created both challenges and opportunities for participants, as shown here:
Branding is a concern. And it is a challenge because the double whammy is: not only are you producing opera and the general public does not respond well to opera. I think there’s a lot of people that would not be caught dead walking into an opera house, or to see an opera. // It’s been hell! (Marcello) So, what we try and do is to communicate how we’re different, how we kind of bust the stereotype, how the negative stereotypes are not included in our experience. (Rinuccio)
Highlighting collaboration between performers led a few participants in their brand and image activities, as well as one mentioning that their branding was based on their productions. Some of their thoughts are illustrated here:
We take the art form very seriously, but we don’t take ourselves seriously. And we think that that sort of goes into the audience experience of our shows, it’s a little bit more laid back. It certainly goes into the respect side of our shows, in that we like to work with people who are good to work with and who are collaborative, are colleagues, and open
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colleagues, all of that sort of stuff. And who then do take their work very seriously. (Liù) It’s very much led by the show. // The whole visual structure of the year is based on the show … There has to be a visual language for a season at a time. (Turandot)
Elements of their companies’ productions were also indicated above by almost all of the participants as being linked to their goals and mission.
One participant (Marcello) reflected on the evolution of their brand and image, which was tied into the name of their company. As the opera scenes in Toronto expanded, this company felt their brand and image needed repositioning. The changes were led by their Board of directors, who are typically responsible for the growth of an organization. A funding grant was secured, experts in branding were hired and consulted with, and audience committees were involved in the development of their new brand and image. These activities show the extent in which brand and image can involve relationship-building, as well as cooperation from various groups, who work together in the evolutionary creative process.
4.4 Concluding Remarks
Participants in the current study showed great resilience and innovation with their operations and mandates. They maintained a consistent presence in the Toronto alternative opera scenes with their artistic output, and managed to thrive operationally on limited financial and human resources. Diverse skillsets were abundant among participants, who undertook multiple artistic and administrative roles within their companies. Participants showed creativity and innovation in cultivating their organizational mission and goals, and ensured that community, artistic excellence and the spirit of opera were central to their activities. When discussing their brand and image, participants used vibrant and rich words to portray their organization’s ethos.
In the following chapter, I present findings on the audience segments that boutique opera companies are cultivating relationships with, and their means of communication.
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Chapter 5 Boutique Opera’s Audiences
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Boutique Opera’s Audiences
I think the great possibilities … are in finding safe and friendly ways to learn about your audience, and track that. // I’m excited about seeing what technology is out there that smaller companies can use without infringing on the comfort or the rights of the audience. It’s what you willingly put in there, like age range, [that] actually makes it a lot easier. And then I say, ‘Come to the event where we have a resident mixologist and DJ.’ I don’t want to be sending that to my 60 year old donors because they would be like ‘Are you just focusing on young people now?’ We are doing that the hard way now and I am looking forward to be able to do it the easy way. (Rinuccio) 5.1 Introduction
In the previous chapter I examined background for the boutique opera companies, as well as their organizational identity, as presented by their representatives. Once organizational activities are in flow, who are the audiences with whom these boutique opera companies are engaging with? I will now examine these audience groups and the means of communications used. More specifically, I will explore how participants in the field study (as representatives of the boutique opera companies) discussed who formed their core audience, specific audiences outside of the core, and new audiences, and how they attempted to communicate with them.
5.2 Audiences and Means of Communication
5.2.1 Core Audience
Participants in the current study were asked if their boutique opera company had a core audience, and if so who they were. All of them reported they had a core audience, and a few explained that their core audience consisted of different groups: “So, there is a core audience, but it’s also made up of a few different segments.” (Musetta) The core audiences identified by participants are listed below with details to follow: • those working in or interested in the arts; • donors; • those interested in theatre and opera; • older people interested in non-standard opera repertoire; • those with special interests; • subscribers or those who purchased bulk tickets; • contacts; • young people (between 25-35 approximately).
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From the list above, the most prominent segments mentioned were: those working in or interested in the arts; those with special interests; subscribers or those who purchased bulk tickets; and contacts. About half of the participants felt that their cultivated contacts helped form their core audience, which aligns with public relations’ focus on relationship-building. Both personal and business connections were mentioned, as outlined below: There’s an audience of the usual kind of family-and-friends people that are always interested in what you do. But also, people who checked out our first couple of productions out of curiosity and have really stuck with us all along. So, there are definitely people who we know are going to be at every production. And therefore, we try and reach people who are like those people. (Giorgetta) And then we also come out of [our] network and our Board, we do have a big chunk of people who are young professionals but are not the traditional opera audience. We always get a group of those coming to each of our productions and we’re building a core group within that, who then also try and bring people. (Liù).
A few participants commented on how those with special interests contributed to their core audience. The special interests mentioned covered a wide range of topics, which would align with the ethos of boutique opera companies, and therefore contribute to their attracting those with whom they shared commonalities. Topics discussed included environmental activism, providing support for emerging and young artists, creating an online audience, contemporary opera and interdisciplinary arts.
Despite some of the literature’s focus on the decline of subscription-based patrons in the arts, a few boutique opera companies enjoyed a loyal group of subscribers, as commented on below: We do a subscription. The subscription has been going on for many years. // We don’t have a very large subscription base, but we have one that is steady, permanent, committed. (Marcello) One of the things that we always do, is we have a bulk ticket rate. Sort of targeted at businesses and so we’ve gotten some businesses to come, but you can as an individual buy. So, the people who have actually bought that are exclusively outside of the industry. Which is nice. So, we have our core people there that are like, ‘Oh yeh! I’ll buy the ten again,’ and bring their friends. And so there’s some crossover in terms of who their friends or colleagues, [are] in terms of who they’re bringing, and whether they come back again, and so we are trying to build an audience that way. This is something to do with your group and it can be a professional development thing. It can be ‘happy Friday’ for your employees! (Liù) The last participant describes how their company has had successes with modifying the traditional “subscriber” model, by instead introducing “bulk tickets” which allows patrons to buy
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multiple tickets, however for one show, as opposed to committing for multiple shows within a season. This approach incorporates the benefits of subscription, while adhering to literature which describes the changing behavioral patterns of audiences, who prefer not to commit to multiple performances in advance. Another participant commented on how the relationship between their boutique opera company and their subscriber audience was based on a personal approach: I guess you would say that those are the subscribers who come to every show. So, we have a subscription base, but I would say that each of those core audience members was cultivated one by one. (Rudolfo)
A few of the participants discussed how they were a part of a thriving arts scene in Toronto, and that their core audience included those working in or interested in the arts, as outlined below:
And so, our audience in Toronto for our productions is made up of people within the industry here, students and young singers and more professionals in the industry. (Liù) One of the main qualifications or the main descriptor of our audience, because they do come from different areas, is that they come for, they have high artistic minds. They’re curious and they probably may have developed an interest for our opera company because of another art form that we work with. So, our audience, to the core, may not be integrated or even had much exposure to classical music or new classical music but they are patrons of other art forms … Usually more it’s the contemporary, like contemporary dance, film, avant-garde film, visual art. (Suor Angelica) The last participant highlights how the arts-interested public are an active audience segment, which aligns with some of the literature on audience-building initiatives. One participant also commented on how their boutique opera company’s core audience consisted of those interested in theatre and opera, which also aligns with the theme of an arts-interested public.
A few of the participants explained that young people, and older people interested in non- standard opera repertoire formed a part of their core audience. Attracting young people is vital to the long-term viability of audience-building activities, so it is positive to see that a few participants consider them to form a part of their core audience. Participants mentioned that their younger patrons were typically under the age of 30, or in their late 20s and early 30s. The older demographic was featured in the core audience, however they were sub-categorized as also being those who enjoyed non-standard opera repertoire, as reviewed below: Another one is people who are opera fans already, generally a little bit older demographic, they might be people that know some of our singers from, you know, opera school, hard core donors and opera fans in Toronto and those people who are giving new 76
music a chance, so these people, we sometimes call them ‘sceptics’ because they aren’t necessarily a fan of contemporary music because they are worried it will be difficult to listen to. But again, they give us a chance because the [name related to opera company] is sort of whimsical and fun, and so they think, ‘This will probably be a fun evening even if it is difficult.’ (Musetta) Well, since the company has been around for forty odd years, the audience is mainly ‘dare devils’ that want to come to hear and listen to non-standard repertoire. And so, the core audience, generally is, the demographics are older people, probably in their 60s to 70s, and they have been there for a long, long time. (Marcello)
When participants reflected on who their core audience was, they were able to provide information about several different groups, or segments, who came together to form this core. Overall, the core audience are those people who have an enduring interest in opera, or who are a new audience. This newer audience is attracted to opera and gradually forms the core audience.
Of the twelve participants in the current study, eleven communicated directly with their core audience, and one did not, as their main activities were associated with a host organization who handled all communications. One participant humorously added: “We don’t want to lose them!” (Marcello) while another maintained that they had to be inventive: “Yes, in many different ways.” (Rudolfo)
When asked about what means of communication were used with their core audience, about half of the participants reported using predominantly e-mail and social media. E-mail was considered important, as highlighted by one participant: “E-mail is the big one for us,” (Turandot) with another commenting on their usage: “We do e-mails very irregularly, only when we really have something going on, like ‘Buy your ticket or win this contest.’ It’s not a regular monthly or bi- weekly newsletter kind of thing, it’s more about call to action type announcements.” (Giorgetta) With social media, Facebook was the most popular, advocated for by a few participants, followed by Instagram, Twitter and Blogging. Although Facebook was a popular communications tool amongst participants, one highlighted how the social media platform was evolving in a negative way, and that Instagram was on the rise:
And then I would say our other major route of communication for the, hopefully, as wide as possible younger segment, is through social media. So, when we started back in 2010, 2011, Facebook was a really popular channel and in the last eight years Facebook has changed significantly in terms of the algorithms. So, Facebook has really declined for a lot of companies, and this goes across companies I worked with in the commercial space,
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as well. Facebook is a pay to play platform now obviously. // And then, nowadays in terms of the most effective social channels, I would say Instagram really is a popular one for the audiences, that’s where people are. A lot of people are-, ‘I don’t have Facebook on my phone anymore.’ (Turandot)
Other online communications tools were also used, with a few participants mentioning their websites, and about half of participants sending out e-newsletters with specific program related content, as explained here:
We have a newsletter that goes out periodically every month or three weeks or something, which has a little more in depth information, and the events and everything if they want it, and of course you have to be careful with those things because they have to sign up for it, you cannot just send it to anybody. (Rudolfo) The last participant also highlighted how data protection in Canada only allows direct communications with those who have directly signed up and given their permission for contact. The PIPEDA (Personal Information Protection and Electronic Documents Act) legislation states that organizations “must obtain an individual’s consent when they collect, use or disclose that individual’s personal information.”10 In some cases, non-profit organizations and their activities are exempt from PIPEDA, however if these organizations are engaging in any sort of commercial activity, their use of contact information falls under the PIPEDA legislation.11
A personal approach was advocated for by participants, who reflected on how to incorporate this in their telephone, meet and greet activities, and printed mail-outs. A few participants commented that they enjoyed the connection they felt using the telephone as a communications channel, highlighted below:
The process of buying tickets now can be quite inhumane, and you know, if you do it online and you get error messages and then … there never seems to be a phone number, that people can call and get a human on that line. So, we always prided ourselves in being very human in returning phone calls or being on the other end of the telephone, and also dealing with people. (Rudolfo)
10 Office of the Privacy Commissioner of Canada. “PIPEDA in brief.”
11 Office of the Privacy Commissioner of Canada. “The Application of PIPEDA to Charitable and Non-Profit Organizations.” 78
A few participants discussed how relationships with their audience were strengthened through meet and greet activities, as commented on here:
We run productions and then we have these things called ‘symposiums’ where we have open conversations with anyone who wants to come, about what we’re working on during the season, and then after the shows I always, whether it’s our opera company or not, I always greet the audience. (Lauretta)
Printed mail-outs were used by a few participants, and one reflected on their personal approach: We do also do direct mail but it’s very choice because direct mail has such a low return these days. // About twice a year. Christmas time and I guess throughout the year with our major and medium size donors. I will write a note. (Rinuccio)
A grass roots approach to communications was discussed by participants, with one mentioning word-of-mouth, and another distributing posters and postcards in localized neighborhoods. Only one participant mentioned the desire to attract outside media, such as newspapers and bloggers. This could imply that many of the participants favor a more direct and personal approach when communicating with their core audience.
5.2.2 Specific Audiences Outside of the Core Audience
To the question “Do you communicate with specific audiences aside from your core,” nine of the twelve participants in the current study indicated they did so. One indicated not as they always operated through co-sponsorships who did the communicating and outreach on their behalf. Two participants did not respond to the question.
Targeting communities that they felt would be interested in a particular themed show was the most prominent way that participants selected specific audiences, with about half of them highlighting this as one of their strategies:
Segmentation is a big part of our marketing strategy. With each show, we find related demographics, so for example, when we did [name of opera], that involved the [a Canadian minority] community a lot. So, we partnered with organizations, both media organizations and other presenters to get into newsletters, to do specific promotions, to do free shows sometimes in the community. And, then we just generally promoted within the community by word-of-mouth as well. We invited, for example, four different authors to come and present after each show, in the spirit of the show. [Name of author] was the inspiration for this piece, so let’s learn who the next generation of [a Canadian minority] authors are, and they all brought their own audiences. So that was a very specific
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campaign that said, ‘Let’s just focus on this one demographic in as many ways as possible.’ Also, through some of these real partnerships, not just targeting. (Rinuccio) This participant recounted how he considered that they were involved in “real partnerships, not just targeting” specific demographics in their audience-building activities. Their engagement initiatives described above also featured a cross-disciplinary approach by connecting literary authors from the Canadian minority community in question. The last participant’s engagement initiatives featured a cross-disciplinary approach, by connecting with literary authors from within the Canadian minority community in question.
Other participants indicated how they link particular production themes with specific audiences:
The idea is to look at stories we tell and find ways to connect those stories to specific communities of people and build and expand on what our core audience looks like, or just change what we want our target audience to be. So, it’s all kind of connected. So, for example, this year we’re giving a workshop on ASL [American Sign Language] opera, so that we can explore opening up the world of opera to the deaf community. (Lauretta) We have a show coming up that’ll be a Canadian themed piece. So in our plan certainly is to reach out to museums and cultural things and to all of that, which will be relevant specifically to this show but wouldn’t necessarily be relevant for anything else. (Marcello) Those members of the public at large who might be interested in a themed production can also be considered a specific audience:
I would say that it’s mostly program-led. When we are selling a show, we’ll take out an ad here and there or something like that, and of course we hope that that’s going to reach new eyeballs that haven’t noticed us before, and that’s a little bit hard to control. Who’s actually going to read that issue of WholeNote [classical music magazine in Toronto], or who’s going to see that Facebook ad or whatever it is? So, without very expensive demo- tracking and things like that we don’t know where that’s going, but you just hope it will go as wide as possible, but since we’re kind of a project-based organization, it does end up being project based in terms of actual targeting. (Giorgetta)
Other specific groups who could be targeted were mentioned: connections across Canada; older audiences; those associated with a particular neighborhood; and those outside of Toronto through touring, with one participant each referring to the afore mentioned audiences. Participants reflected that their activities had a one-on-one approach and personal touch, which aligns well with concepts of public relations, as outlined below:
And if you do that on Twitter, [to comment positively on other people’s work] of course, it goes out to all of your followers and then other people see that, and so it is a way of
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making community among people that you don’t necessarily see all that often, and just saying … ‘I know this show is opening in Victoria [British Columbia] and a bunch of colleagues are in it, so I’m just going to write a little Toi Toi,’ [good luck saying in the theatre] and then I think it does buoy up the spirit in a way and connect people. (Rudolfo) And I mean, sometimes we’re in something that is so huge like (name of outdoor arts festival), which happens across the city and it’s exciting, but to be honest, the audience that came, were the people in the neighborhood who we spoke to when we were rehearsing there. There are other people as well, but it’s really on the ground. It’s totally about the neighborhood-, having a physical presence. (Nella) The last participant’s programming aligns with the literature on performing in new and unusual spaces as a means of connecting with specific and new audiences.
Other groups who could be identified as specific audiences were mentioned by participants, with each of these initiatives mentioned once: collaborative projects with other organizations, invitations to present at events, meet and greets, involvement in productions with other organizations and through contacts. Arranging a meet and greet event was a way to attract audiences who had never purchased a ticket before, allowing them to experience a little bit about the organization, without committing to a full performance, as explained here:
It’s what we call our outreach initiatives. For instance, I have been invited to organizations such as The Nadal Jewish Centre to give a lecture or something like that . Or the Alliance Française, to go and present a little presentation. (Marcello)
One participant explained how many of the artists in Toronto formed a network, and that they performed with, or were involved with, other arts organizations, as outlined here:
Because we are artists involved with other organizations as well, not only just our own, we are looking at who has been an audience member for those productions. (Mimi)
As mentioned above, nine of the boutique opera companies were communicating with specific audiences. The means of communication that they employed to reach out to these audiences will now be explored. The most prominent means of communications discussed by participants was external public relations, with a few participants highlighting its importance. This approach differed from communications with the core audience, where participants did not mention external public relations as a part of their strategies. One participant highlighted the importance of public relations, as shown below:
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I would say PR: if you can get good PR, it makes a big difference. So, we’ve been on a variety of radio shows. We were on Metro morning one year. We’ve done Fresh Air, we’ve done, back when he had a live radio show, we’ve done the Live Drive with John Tory [Mayor of Toronto], which obviously does not happen now that he is mayor. We have been in the Globe and Mail [Canadian national newspaper], we had a full page spread in Metro [free Toronto newspaper]. (Turandot) However, a few participants reflected on the fact that making connections with external media outlets was costly in most cases, with one commenting on ways to bridge that gap without allocating extra funding, and focus on relationship-building instead:
I think some of the companies have gotten to the point where they have a budget for real advertisements like in print media and things like that. We don’t particularly use our funds for that, so we’re really relying on building interest with a writer that wants to write something about us, ‘free advertisement’ - but that’s harder to get hold of pretty much every year. (Giorgetta) A personal approach was still upheld by participants when reaching out to specific audiences, with a few participants mentioning one-on-one communications, and also the importance of having a contact person to distribute print and video materials on their behalf, with another observing that they benefited from maintaining relationships with advocates.
A few participants discussed the benefits of having their contact person do promotional activities on their behalf:
It’s a small factor but we mail them posters, and they put them up locally. (Musetta) If there’s a particular community group, reaching out to them and giving them our promotional materials and trying to get them to contact their members would be a way. (Liù) One participant outlined how having advocates for their productions helped when establishing audiences while on tour:
We also self-present in other towns and that’s always a very big experiment, and also in communication, and that is an area where we’ve really, really relied on the grassroots approach, so if we can find somebody in a town that really is just embracing our opera company, a huge fan, those people become advocates. Those people are on the ground advocates for getting people to buy tickets and show up at our show. (Musetta)
Social media in general, and Facebook specifically, featured far less with this audience, than with communications with the core audience. A few participants mentioned social media with regards to their communications with specific audiences, as opposed to about half who advocated for it as a communications method with their core audience. Facebook featured highly as a 82
communications tool for the core audience, with a few participants mentioning that it was a part of their activities, as opposed to just one who mentioned it with regards to strategies aimed at specific audiences. This decline in use could be attributed to the pre-established networks that are required of most social media platforms, and specifically Facebook.
Other online tools such as e-mails and the e-newsletters were also not as prominent for communications with this audience, as opposed to their importance as strategies aimed at the core audience. Only one participant mentioned e-mail and another the e-newsletter, which is a contrast to the engagement directed at the core audience, where about half of participants highlighted e-mail, and five the e-newsletter, as means for their communications activities. This could be because of Canadian legislature in place for data protection, as mentioned by one participant: “It would be e-mail if we can get their e-mail address.” (Mimi)
Posting promotional material was also not mentioned as a method of communicating with specific audiences, as opposed to a few participants who mentioned its use when connecting with their core audience. This again could be tied in with Canada’s legislature on data protection, as participants would not have access to potential audience’s contact details unless that information was passed on, which implies a pre-established relationship, as opposed to a new one.
Other communications activities used to make connections with specific audiences that were mentioned by participants were: focus on ethnic groups; a host organization distributing print and video promotions; a presentation featuring speech, performances, video or print material; sponsorship; distributing print material, and working in co-productions.
One participant discussed how their approach established firm connections with ethnic groups in Toronto, which aligned with the focus of their programming as well. They made an effort to ensure that communications were language specific, and built relationships with the groups whom they engaged with, as shown below:
And so, we did a [European] language promotion for [one of our shows] and we had a whole webpage on our website that was in [specific European language], so the community could link from a [European language] media partner, newsletter that went out, ‘Go to our [a European] language website’ and then buy tickets if it felt like they’re still interested. So, we made it easy for them. // When we did [one of our shows], we had some of the most success … we kind of threw a party for a bunch of influencers
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within the [a specific European] community. And had the lead [performer] sing songs in [a specific European language] at the party. Personal e-mails went out from that, that activated people in the community who just showed up and we sold loads of tickets to the [a specific European] community that way which is interesting because that is way more analogue than a kind of more generic campaign, it’s very personal. (Rinuccio)
One participant spoke of sponsorships and another of co-productions as means of making connections with other organizations’ audiences, as discussed below:
A little bit through cross-promotion with other groups and maybe particular sponsors for the show. I know we’ve had [alcoholic drink] sponsors in the past and they’ve posted on theirs to reach their audience and that sort of stuff. (Liù) Well, sometimes if we’re in a partnership with a presenter or producer, then we’re communicating to their audience as much as our own. So, that they might invite us to do an interview for their program, for the festival, say, or they’ll fold us into their PR. (Nella)
Another participant mentioned planning presentations as a way of reaching specific audiences, the details of which are outlined below:
It is a usually a presentation. It has to be a new person presentation. I have archival materials, I can do a video presentation, I do sometimes bring a singer and pianist and showcase that singer, but I showcase also the repertoire of non-standard opera. Those are the things we do. Then we bring our literature, little flyers and distribute, and cajole and beg, and, you know, do all of those things that we have to do. (Marcello)
5.2.3 New Audiences
When asked if they were communicating with new audiences, ten participants in the current study indicated that they were actively doing so, while two indicated they were not doing so yet. The enthusiasm shown for reaching out to new audiences was evident in these participants’ reaction to the question:
Oh yes! Oh sure! Oh sure! (Rudolfo)
Yes. Every time. Every show. (Suor Angelica)
Creating links between potential new audiences and specific programming, as well as attracting newcomers to opera (in this case, newcomers refers to those who have not attended an opera performance before) were the most prominent ways of engaging with new audiences, with a few participants advocating for each strategy. One participant reflected on how they made connections between one of their productions and potentially related audiences, while another 84
commented on how their small organizational nature was indeed a benefit, as it allowed them to be more adventurous in their programming and reach out to audiences who would be interested in their activities:
So, for [our show], we thought, ‘OK, who would be interested in [our show]?’ So, immediately, we said the museums, immediately, we said the universities. There’s probably an [a specific] department in most universities. You know, we sort of said, ‘You wrack your brain and you sort of come up with some ideas.’ Does it work? Did it bring new people to opera? (Marcello) The nice thing about the non-opera community is that the only preconceived notions that they have about opera is that they think that they’re not going to like it. But, specifically the music, like the difference between Mozart and Ethel Smyth is nothing for them, because they don’t really know either. So, it does allow us in reaching out to them to be able to program things that other companies, and certainly the bigger ones where you’re filling a big hall wouldn’t be able to program … It allows us to be able to program more interesting, exciting and different things. And our audience is going to be more open to that. (Liù)
Participants were also passionate about attracting newcomers to opera, with a few featuring that initiative in their audience-building activities. Two participants mention their views below:
You know, I feel that maybe the biggest difference between our company and almost all other opera companies in Canada is that we’re more interested in the general public than we are in the opera audience. (Rinuccio) And that’s actually one of the things that I really love about our audiences is that after shows we’ll often be contacted by people who-, that was their first opera! (Giorgetta)
Attracting young audiences was important to a few participants, which they discussed when they reflected on how they established relationships with new audiences, as shown below:
New audiences would be people between the ages of 18 and 35 who are not necessarily going to a lot of classical music concerts, or are not necessarily performers in the world of opera or classical music, so we are looking to target people who participate or enjoy theatre performances, and dance performances. (Mimi)
So, one of the groups that we definitely try to reach out to is young professionals in the city, and we’ve had pretty good success with that. (Liù)
One participant expressed how performing in new and unusual venues was a way of experiencing art in a unique way, as observed below:
I love that, when we’re part of the environment, we’re part of the neighborhood. And, people who wouldn’t necessarily go to the theatre, or go to a concert or go to an opera
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actually get to have this incredible experience in a place that they know, it can transform. (Nella)
Each of the following new audience segments were mentioned once by participants: influencers in the industry, such as music and dance; audiences outside of Toronto; and those reached by expanding social media connections. One participant also told of how they were still exploring all options, and were in testing mode: “I don’t think we have to necessarily have any barriers to who our audiences can be. So, right now, I’m just sort of testing that out. We haven’t done enough things to say ‘Yeah, this is going to work.’ But that’s sort of what my belief is.” (Lauretta)
In terms of communication with new audiences, similarly to engagement activities directed at specific audiences, participants used external media sources (one participant), public relations (a few participants) and advertising (a few participants). However, participants did note that these activities were costly.
Social media in general was mentioned by a few participants, however one mentioned that their communications had to reach beyond their established networks:
That’s a toughie, right, because they are not already seeking opera. They might be if they’re music lovers, but they’re unlikely to be perusing the ads in WholeNote [classical music magazine in Toronto], or the ‘Things to do’ in WholeNote, right? So that’s where you really hope that communication to somebody who has a platform will result in them putting something out that is going to reach people who are not just already interested in opera, and it’s also where we hope that social media things might get shared. We’ll sometimes write a post that highlights what particular thing in this production might attract somebody new and hope that it goes a little beyond our own network. (Giorgetta)
A few participants reflected on how expanding their contacts was a way to reach new audiences, with one mentioning the importance of their Board, one highlighting the impact of new performers in the company, and another recounting how their production themes aided in making new connections. Some of their thoughts are outlined below:
And through our Board who have past music connections. But all of them except one work outside of the music industry or the classical music industry. (Liù) One of the ways we have done this in this past season, although I think for this coming season is not going to work as well. But the past season, we hired an actress and a dancer, and so we relied on their contacts personally to spread the word. (Mimi)
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Another participant highlighted how Toronto’s multicultural aspect provided an opportunity for reaching out to new communities, “Trying to find communities. I mean, Toronto is a multicultural city of communities.” (Rudolfo)
Other means of communications mentioned once by participants were: offering a bulk ticket rate; the meet and greet; postcards in neighborhoods; and making connections with sponsors.
Similar to communications with specific audiences, reaching out to new audiences also did not rely as much on tools that required individual permission to contact, such as e-mail, e- newsletters, and postal materials. There was a focus on external media sources, which can prove costly, which was also used as a strategy for reaching out to specific audiences.
Reaching out to specific audiences and to new audiences, shifted away from prominent tools used for communicating with the core audience, such as e-mail, e-newsletter, postal material, social media in general and Facebook. There was a focus towards external media sources and public relations, as participants directed their communications activities from their core audience to other audiences. However, one theme which remained constant throughout communications activities was the desire to maintain and extend contacts, as well as to nourish a personal approach to relationship-building.
5.3 Concluding Remarks
All participants felt they had a core audience with whom they communicated, while nine were also communicating with specific audiences, and ten were doing so with new audiences. Participants discussed the audience sub-groups who formed their core audience, specific audiences and new audiences. Varied means of communication were employed by participants, and they adapted to the needs of different audience groups. Developing relationships with audiences affected many aspects of the activities that boutique opera companies engaged in, including programming choices, multidisciplinary approaches, and venue choices. This implies that although the focus of the current study is on who audiences are, and how communications are established, that these activities connect directly to artistic planning and output.
In the following chapter, I present findings on how boutique opera companies are building their audiences, as participants highlight their successful means of communication, the benefits they 87
experience from these successes, their communications issues and challenges and their ideals and hopes.
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Chapter 6 Building Audiences
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Building Audiences
If a company has a great strategy, I’d love for them to share it more, I think especially in the world that we live in nowadays the media environment and the PR environment even, has changed so dramatically. I would love to find a reliable way to get audiences that doesn’t cost a one-page ad in the Globe and Mail [Canadian national newspaper]. Because it is expensive to do things the traditional way. // But how do you really know a reliable audience, a new audience? Not just tap into the wider opera audience through the digital media options. I haven’t yet, and I haven’t in the last few years also, tried enough to figure out exactly what works, and I think it probably costs a million bucks! (Turandot) 6.1 Introduction
In the previous chapter I explored how participants discussed who their audiences were and the means of communication they employed to engage with them. What successes, benefits, challenges and ideals did participants experience as a result of their communications and audience-building activities? During our interview process participants reflected upon the conversations they cultivated with their core audience, specific audiences, and new audiences. Participants discussed the successes, benefits, and challenges they experienced when they were maintaining relationships with their core audience, and the ideals and hopes they had for their future communications with this segment. Although participants were nourishing relationships with audiences whom they felt composed their core, or main publics, they were also actively reaching out to other audiences beyond this group. When participants were developing relationships with specific audiences outside of the core, and reaching out to new audiences, they also recalled their successes, benefits experienced, challenges and ideals. I will now explore their thoughts in more detail.
6.2 Boutique Opera: Conversations with Audiences
6.2.1 Successful Means of Communication - Core Audience
Participants reflected on the successes they associated with communication means used to build relationships with their core audience. Online tools such as e-mail and social media featured prominently in the interviews. About half of the participants highlighted the gains provided by e- mail and Facebook specifically, as shown below:
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I would say that the mailing list, the e-mail list is the main way that we reach the people who are not on social media in an extreme way. // And we definitely get responses from people saying ‘Oh great! I didn’t know about this,’ when we feel like we’ve been announcing it forever. So, the e-mail definitely reaches another segment of that audience. (Giorgetta)
This participant advocates that e-mail is also a way to reach audiences who are not as active on social media, and is an effective way of creating dialogue with their audience. A few participants reflected on the various ways that Facebook can be a successful communications tool, because of its multifaceted way of sharing information through established networks, the platform’s functions for visuals such as video and photo content, and the effectiveness of their “events” pages, all which attract audiences to participate. Their thoughts are explored below:
I mean video content on Facebook does really well, does better than any sort of written. (Musetta) The best would be a post on our organization’s page [Facebook page] with a picture. So, we post a picture and then have a description with the picture, and then our artists for that particular show and our administration members then share it on their personal Facebook pages. (Mimi) This last participant (Mimi) also discussed how Facebook allowed for successful planning, due to the tools it provides for allocating specific times for distribution of one’s communications.
Social media in general was advocated for as a successful tool by a few participants, with Instagram, Twitter and YouTube highlighted specifically once by participants. One participant (Nella) explained that social media was not just a one-way communications tool, and that potential audiences had to seek out, or be attracted to, the organizational profile.
Another participant discussed how their boutique opera company also maintained a YouTube channel, as a way of extending their audience: “Certainly on our YouTube channel we have a pretty good subscription base.” (Liù).
A personal touch was important to participants when they communicated with their core audience, with a few using postal mail, telephone calls and the “meet and greet” to build relationships. A few participants reflected on their personalized approach: “Amazingly, and this is the old-fashioned, send a letter that is personalized … and if you can, make a phone call;”
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(Marcello) “Telephone really works really well, actually.” (Rinuccio) One participant also reflected on how an in-person connection was easier to maintain than other strategies:
The easiest way for me to communicate with an audience is to either host an event, and everyone comes and I talk to them after, I talk to them during or it’s only a talking event. So, it’s actually a lot easier for me to just host an event than it is to keep up a mailing list and a Facebook page. (Lauretta)
Participants also discussed segmentation, word-of-mouth and neighborhood poster distribution, with one participant each highlighting these methods. One participant explained their approach to applying segmentation:
We do our segmentation based on their behavior until we know more about them. If they’ve bought one ticket or two tickets or five plus tickets or have been coming for 10+ seasons, they get communication based on that. (Rinuccio) 6.2.2 Successful Means of Communication - Specific Audiences Outside of the Core
When participants were communicating with specific audiences, the most prominent successes were those that used a personal approach. There was less reliance on e-mail, social media in general, and Facebook, which featured highly as successful means for communicating with the core audience. Nine participants were communicating with specific audiences and their views are now explored.
The personal approach proved successful for a few participants, with one mentioning the importance of maintaining a relationship with a contact person who would act as an advocate for their activities, and a few participants explaining how they found success with communicating one-on-one, as shown below:
It’s about relationships. So if there’s a human to reach, to say ‘Here’s why I think the people that you communicate with would be interested in this, and here’s what I’d love for you to be able to say to them, so that they understand to actually look into it’-, that might work. Simply firing off that press release also to some cultural group organization, or to an activist organization or something, is not going to do anything. Because on the surface there’s only so long you can write a headline, it’s never going to seem to them, that this is for them. (Giorgetta) We had a great experience: last summer where we were doing a project on the beach at [name of beach] … and people were constantly walking by with their dogs or their children. And they were asking us questions. And so, we had an agreement that one of us would always be ready to talk. So, if you see someone watching, you just sidle 92
up to them and just start a conversation. So, it was very organic and word-of-mouth. It actually felt, you know, pretty meaningful. Because, what we were doing was completely weird - so: ‘What is this?’ ‘It sounds like music you would hear in a yoga class.’ ‘What is this?’ (Nella)
A few participants also reflected on the success they had when they provided special care for a specific audience, as explained by one participant below:
For community based things, [it’s] showing that we’re doing something that would be of interest to them. Oh, we had for our[theme of show] show … We reached out to the knitting community because it’s a very feminist based community. We sold a bulk ticket group to them and gave them seats where they were able to knit. You can knit during the show. [We], put them in an area where they’re not going to bother the person who hates to have any sort of commotion next to them. (Liù)
Focusing on the drama of their programming; putting flyers in other organizations programs; and good public relations, were mentioned once by participants, with some successes shared below:
And you look for, what are the things that are interesting to them? ‘It’s not opera but it is the story,’ usually. (Rinuccio) I would say, PR: if you can get good PR, it makes a big difference. (Turandot)
An audience specific newsletter and social media, Facebook and Twitter were each mentioned once as successes by participants, relating to their communications with specific audiences. One participant described how communications were tailored to specific audiences outside of Toronto, as shown here:
It’s not only our Toronto audiences that we’re communicating with. // We have a Kingston specific newsletter too, and we’re able to be a little bit more active in tailoring our communication for that community which has really helped, and also in Prince Edward County since we’ve been there a lot. There’s sort of a bit more of a regular group that knows who we are. (Musetta) Another participant highlighted the feeling of camaraderie and community that was shared within the boutique opera scenes in Toronto, as explained here with their use of Twitter:
One of the things I liked especially about Twitter… it limits what you can say, I always used it, and I don’t mean this in a cynical way, but I love to go to other shows and I also love seeing colleagues in performances and seeing their shows. So, I always made it a point to congratulate people, to wish people all the best in something, and all that kind of thing. (Rudolfo)
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6.2.3 Successful Means of Communication - New Audiences
Ten participants were reaching out to new audiences with their communications activities and their feelings about their successes are now explored. Under this theme, a variety of means of communication were mentioned with no prominent one emerging. Participants presented unique ways in which their communications activities were successful when connecting with new audiences.
The only means of communication which had a few mentions by participants was e-mail, although they discussed how these communications were tailored especially for their potential new audience, as shown below:
And we do an e-blast as well but then we do definitely try and reach out to individuals that we think are a good fit. (Liù)
Because of data protection legislation in Canada, any e-mail communication with new audiences would have involved their prior consent in the relationship-building process. Other successes listed here, and reflected on by participants, were only mentioned once: positive associations with the company name; bulk tickets; content of communication; info session salons; micro- targeting; printed flyers; unusual venues; cross-promotions; and use of images.
The strength of communications content was brought up by one participant, whose programming was inspired by current social issues associated with the overuse of plastics, as shown here:
If it’s like the thing at [a beach], the image that launched that piece really was about all the plastic that washes up on the shore. And there’s the idea of the water reflecting something about us as a species and as a civilization. And also, water as a vector for travel. So, yes, sort of communicating those. (Nella)
Another participant explained how they fused detailed connections into their planning of an info session salon, tailored to attract new audiences to a specific contemporary opera:
So [our show] was a phenomenal challenge. So, [the librettist] said to me, ‘Yeah, it’s going to be difficult selling tickets, if we are going to try selling tickets to try to get an audience, why don’t we do a few salon presentations, a few gatherings?’ So, we did one at [a private club], we did one in the lobby of [name of a musical hall], and one here at [this centre]. And so, we had [name omitted the librettist], we had [name omitted], the composer, and we had two of the singers. They didn’t sing but they talked about the characters. And then we had one of the representatives of the [country associated with production] Embassy. And she spoke about [her country]. (Marcello) 94
If participants have access to their own ticketing system then they can garner valuable information about their new audiences with micro-targeting, as explained by one participant below:
And what we’re trying to do is instead of spending a lot of resources in one place, we’re doing a lot of micro-targeting to see where we find the most residents and then we’re going to invest in. So, if we do a hundred micro-campaigns for ten dollars, then we see that ten of those really, really have 25% return, which is huge. If you get 5% return, that’s actually pretty good. So then, we’ll invest money in those demographics and push those. (Rinuccio)
Another participant expanded on how they used their connections to reach out to new audiences, extending alliances with local coffee shops as venues for promotional print material:
So, in our past productions, three of our performers also worked at coffee shops. So, we have that connection. And otherwise, just going to coffee shops in the neighborhood in which your show is going to be, to try to put them in places knowing that a lot of more corporate chains such as [name of corporation] or larger chains will not do it, especially if you are asking for an admission price. (Mimi)
Performing in unusual venues was also featured in one participant’s successes with new audiences, as mentioned here:
So, we did a show in a bike shop, and only fifty people could fit. It was great, it was really fun! Definitely, there were members of the cycling community who tried it out, who wouldn’t have come normally, and all of the staff were really loving it! And you know, in an old barn, and in an art gallery. All sorts of different bars, all sorts of different venues. (Musetta) The benefits of establishing relationships with other arts organizations was advocated for, as observed by one participant:
I probably should have mentioned that taking on cross-promotion agreements with other groups is really, really a great way of getting new audiences. (Musetta)
The strength of a good image was highlighted by one participant as a successful means of communicating with new audiences, as described here:
Well I guess in terms of attracting somebody new we always also put a lot of stock in getting an excellent image, you know, that would drag, that would bring people in. Sometimes they’re not going to read the use of words but they’re going to look at something and go ‘Wow, that’s really-! What’s that?’ (Rudolfo)
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6.2.4 Benefits Experienced - Core Audience
Participants reflected on the benefits they experienced as a result of communications they established with their core audience. About half of the participants spoke of how their activities passed on production information, and also helped to maintain a care for their audience. One participant spoke of how their approach was to feature that their productions were experience- led, which aligns well with the literature on attracting audiences, and in particular the millennial audiences, as shown here:
Social media has so far been probably the best tool-, like Instagram, stuff like that. But the reason why-, it’s not just us being, ‘Hey, we have a show!’ It’s: ‘We have a show working with this kind of artist in a different kind of way, that I think you particularly would like.’ When I’m advertising a show, it’s not like, ‘Come to this show! These people are in it, and that’s it.’ It’s hopefully describing a bit of an experience that they could be having. And I find that it really helps when it’s an art form that has a bit of an allure around it. (Suor Angelica) Another participant also noted that one had to strike the right balance when communicating production information:
I think it’s also just using best practices to strike a balance of sharing and then asking. Sharing is talking about an exciting soprano that we’re going to work with and what she’s doing in other places, versus asking for people to buy tickets or make a donation. So, it’s always balancing those things. (Rinuccio) Successful relationships require careful cultivation, and participants prided themselves on the care that they wished to provide for their audience, and were mindful that different audiences have different needs, as shown below:
The benefit is that there is among an older audience a degree of pride in feeling that they’re worth a letter. And then there are audiences, that are perhaps the younger generation, they don’t have a special appreciation for a letter, they might get it, but it’s not significant in their lives. Getting an e-mail which is impersonal is just fine for them. For older persons who are used to receiving a letter, and if you could actually hand write a note, it’s even better. (Marcello) There never seems to be a phone number, that people can call and get a human on that line. So, we always prided ourselves in being very human in returning phone calls or being on the other end of the telephone, and also dealing with people. I don’t want to draw stereotypes, but as people get older they may need a little more tender loving care, in terms of just making sure that they know where they are going, what time a show is, if it’s not at the usual 8.00 pm: ‘Don’t forget, it starts at 7:30 pm.’ Or ‘There are some steps involved’ or ‘Could we meet you at the side door and bring you in that way?’ You
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know, all that kind of thing to do with mobility. So, there’s that kind of communication just around getting them to the show. (Rudolfo) The previous participant’s (Rudolfo) comments align with the literature that advises organizations to remove perceived barriers regarding access, enabling audiences to know in advance that their needs will be catered to. One participant spoke of the care they took to ensure that communications were directed towards the appropriate groups, or segments:
The nice thing about social media is that you can actually target demographics through Facebook and Twitter … You sometimes can say ‘Users that are female from, who are 30 +,’ which are the majority of our buyers, ‘Who live in Toronto who also like the Canadian Opera Company,’ for example, and then we have a subset that’s logical, but we don’t necessarily have to be explicit about saying ‘Joe is 40 and goes to the COC and the ballet and comes to our opera company once every two years.’ Those are great benefits for being able to have a targeted message (Rinuccio) One participant explained the existential experience that they were inviting their audience to, which exemplifies the concept of art in the world, as shown below:
Consistency. They feel like they’re part of a movement, that they are leaving a legacy, that they are enacting change in people, they’re enjoying themselves, they’re watching other people enjoying themselves, and they’re seeing art get created, they’re making a difference in the world. (Gianni Schicchi).
A few participants also commented on how their activities were aimed at creating care for their artists, and ensuring that they were comfortable in the performance environment:
I also think that the pre-show events work well, especially if you are a social person, you’re seeing people, it’s a nice time to be able to welcome people and take questions and have a little bit of back and forth and also to see, to have the artists. I like talking to the audience, I like meeting the audience before the show, because otherwise I get really nervous, because then the audience is some faceless kind of thing. It always, it calms me down in a way to be able to say ‘Hi, welcome, and, this is what we’re doing tonight’ and people have questions and then it kind of humanizes the experience, it breaks down the wall. (Rudolfo)
A few participants noted that their communications activities affected their ticket sales positively. A few of them commented on the effectiveness of e-mail and Facebook:
So, we don’t actually know, but I have a fairly good sense based on when you send out an e-mail and when ticket sales increase: that indirect attribution, of understanding, that e-mail is probably the most effective in terms of converting an audience to buy a ticket. (Turandot)
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For our core audience the e-blasts work well because then they’re aware of our shows. And we do find that people click on the links and our ticket sales go up. // Facebook ads is helpful I think in terms of at least according to the metrics it seems to be working for our ticket sales. (Liù) One participant also discussed how the visual aspect of Instagram was highly effective leading up to a production:
I would say Instagram is super visual. Instagram is great for staying part of a conversation when it’s an off season. So, you can post something fun, stay kind of top of mind. But when it comes to a show if you have done good press photos, you have a good kind of visual story to tell, it’s a great way to tease out images from the show, the cast and bios, that kind of thing. So, you can get people a bit excited, you can increase that, going from kind of like their awareness, ‘Oh, there’s a show coming, oh, what’s it going to be; OK, now I know the show, oh I know that singer, OK.’ So, it kind of builds up, it’s like a bit of a crescendo, really, on Instagram. And as you get close to a show, you want to be there on a regular basis you would constantly say like ‘Ticket link and bios’ so somebody can just click on your thing. (Turandot) Another participant talked about how the relationship between them and their audience evolves from increased involvement, such as attending workshops:
If people feel like they’ve seen the process of something being developed, it’s another reason to have workshops. If people feel like they’ve been a part of the development of a piece, then they might be more likely to go to the show itself. (Suor Angelica)
Enlarging the core audience was not primarily top-of-mind for almost all of the participants, however one did mention how their grassroots activities expanded awareness for their boutique opera company:
I’m convinced that that [posters and postcards in shops] isn’t a terribly effective means of actually getting ticket sales, but it does the one thing … and the reason that we continue to do it is, that in talking to people, word-of-mouth stuff especially in the neighborhood, it’s ‘Oh yeah! I saw a poster of that!’ And so, I think there is value in that even if it’s not necessarily translating to ticket sales at this point. But it’s something visually. (Liù)
A few participants also commented on the cost-effectiveness of their communications activities, which aligns with the budgetary needs of smaller arts organizations:
Well, Facebook is free. And even Facebook advertising, although I might be ethically opposed to how it has gone, it does not feel right, but, you know, on a large scale, it is the most cost-effective way to get advertising out at the moment. If you look at the cost of an ad in the WholeNote magazine [classical music magazine in Toronto] or on the radio, it’s extremely expensive and out of the means of a small company like ourselves. And in a 98
Facebook ad, you can spend a hundred dollars, and you can have people see it for a whole week. So, it really is affordable. (Musetta)
One participant mentioned that their activities struck the right balance between results and their organizational capability, while another enjoyed getting to know their followers on social media.
6.2.5 Benefits Experienced - Specific Audiences Outside of the Core
Nine boutique opera companies were communicating with specific audiences, and the benefits they experienced as a result of their engagement activities are now explored. The most prominent theme featured, was that participants felt their activities enlarged their audience and spread knowledge about their activities, with about half reflecting on this advantage. One participant explained this:
It’s that occasionally we do get people to come. And that’s our main goal. It’s not necessarily to expand our audience but to expand knowledge of what we do. So, if they don’t come to see a performance, they know what we do. (Marcello) Another participant discussed how the benefits of their communications was entirely arts-led, and their views are illustrated below:
So, yes, communication is about connecting with people through the work, but also around the work, to draw them into it. (Nella) How audience’s positive experiences could lead to changes in beliefs was mentioned by one participant, when they explained the benefits of their outreach activities:
The interesting thing is, that people who don’t necessarily go to opera have a reason to come anyway. And don’t mind supporting it anyway, and might actually decide that they love it. (Rinuccio) The personal one-on-one approach was advocated for by one participant: “If you can actually talk to someone and explain why it’s relevant, that will often get a lot of traction.” (Giorgetta)
The prominent beneficial themes of expansion in relation to audiences and knowledge of organizational activities, differed from those associated with communicating with the core audience. With the core audience, the most prominent themes were connected to care for the audience, which would align well with those stronger and more established relationships, and also with communicating production information.
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Increasing ticket sales was a benefit in communicating with the core audience and with specific audiences outside of their core audience. A few participants discussed how their communications activities aimed at specific audiences led to increased ticket sales.
A few participants reflected on how their activities allowed them the benefit of getting to know specific audiences. One participant highlighted the importance of truly understanding one’s audience, and how the extra effort required to connect with others on terms that resonate for both parties was hugely beneficial. Their views are explained in detail below:
Finding a point of common interest and also finding a way to respectfully engage those people. For example, the second opera we did was [an opera from traditional repertoire], but we changed it so that it was about two women who fall in love and are persecuted for their relationship. But we really wanted to reach out to the LGBTQ community, but we didn’t want to tell a story about the LGBTQ community just for the sake of telling a story about it. So, we hired a director that identifies as queer, we hired a lot of artists that identify as queer and then we hosted symposiums with other queer organizations to comment on this thing that you’re asking like ‘How do we make those connections with people if it’s not necessarily our story?’ And the kind of general consensus that came up was that it’s really important to do the work ahead of time, to really understand the issues and the barriers that different communities of people face, why they face that and then learning the right language or means of communication, and then just going forward confidently, and approaching them, and understanding that it’s not their job to teach me or anyone else who’s trying to make communication, how to communicate with them. And that if you screw it up, you’re just going to have to try again at a different time or it’s just a missed opportunity. (Lauretta)
The benefits of social media in connecting with specific audiences were discussed by participants, with a few highlighting their cost-effectiveness, another commenting on how the extended networks can reach people outside of one’s own personal contacts, and one on the efficiency of Twitter.
One participant mentioned how it was a challenge to quantify the results of their communications strategies when reaching out to specific audiences, (Liù) while another mused that communications suited the person who handled the role for their company. (Lauretta) Another participant told of the importance of establishing networks with other arts organizations, who would exchange services such as stuffing programs with their flyers. (Mimi)
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6.2.6 Benefits Experienced - New Audiences
Ten participants were actively engaging with new audiences, and the benefits they experienced as a result of their activities are now explored. The most prominent theme was enlarging the audience, with almost all participants reflecting on how this was a meaningful benefit they experienced. One participant highlighted how there were benefits to being non-traditional and boutique in nature, and in some cases young, tapping into a cool and modern music scene in Toronto, as explained here:
So, with new audiences, and I think this is because of how we’re not a traditional company where we have to say ‘Oh, we have this like sexy, sleek event for young people.’ I mean that’s great, that’s what works actually, but for us we don’t really need to do that. (Musetta) A few participants discussed how extending their contacts, sometimes beyond the scope of classical music networks was a benefit to engaging with new audiences, and one in particular highlighted the strength of having a Board with extended contacts, as seen below:
The benefits would be just finding audience members who are basically strangers. So, no connections, we’re not able to find them on Facebook or like extend an invitation to them. So, just random people. (Mimi) As an example, the [name of performer] show I have. He’s not a good friend of mine, he’s my good friend’s brother. He’s a very cool guy and brings friends that I’ve never met before that are probably more in the rap music world. He’s more involved with producers like R & B and hip-hop and rap producers and performers. And then he brings them around and they like it. And that’s the thing. It’s just music, you know, and it’s not stuffy. (Suor Angelica) So, they [Board members who work outside the music world] are able to open up to their networks. (Liù) The advantages of establishing relationships with other arts organizations through cross- promotion initiatives was reflected upon by one participant, as mentioned here:
You actually just e-mail [the name of a theatre] and you just say, ‘Can we do this in exchange for this?’ and they can say ‘Yes I will’ or they say ‘No’ and, you know, you never know. And having that with their own followers, and especially if we’re doing re-tweets and re-shares because of the algorithms, how they work now, it is harder for community groups to have their messages be seen. So, if multiple people are re-sharing it, it’s the best. So, yes, certainly collaborating with other groups, either in a close network way, where we are putting on the show together or in just re-sharing kind of model, cross-promo. Both of those I think are really great! And again free, you’re not paying for these things. You sort of just help each other. (Musetta)
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A few participants reflected on how there were benefits associated with new audiences taking a chance on opera, when it was in some cases a genre that they did not previously know:
So, it’s finding a compelling way to lure people with their curiosity and yes, their bravery. (Nella) There’s something specific and somebody might say ‘Oh I do like that thing, so I guess I’ll go see it in the form of an opera, yikes,’ and then they’re like, ‘I didn’t know I liked opera!’ So, there’s an outreach element at all times. (Rinuccio)
The benefits of establishing trust on an individual and organizational level, as well as building informal relationships were discussed by a few participants, as illustrated by the following:
Expediency. Because everyone is on the fly. They don’t want to do it in a formal way. And it’s also set up on a system of trust, ‘I can trust you, right?’ It’s not even done contractually all that much because ‘I believe in you, I have known you for a long time, we know this is going to work out well.’ And we just follow through. The word is the bond. (Gianni Schicchi) Ahhhh. I would say the only thing that has been [a] learning [experience] in the last couple of years has been the power of collaborating with another group in terms of, cross-promotion; that’s been a big one. (Musetta)
6.2.7 Issues and Challenges - Core Audience
Participants reflected on the challenges that they experienced as a result of their communications activities with the core audience, and their thoughts are now explored. A few participants discussed the challenges that arose when adapting to the various needs of different segments within the core audience, as shown below:
One of the main donors you can’t get her on the phone. You do have to send a snail mail. And she will meet with you for coffee and that’s the only way you can do it. Others want a phone call, they don’t want a visit. So, it’s a generational thing. (Gianni Schicchi) The challenges are kind of getting enough data from each of our audiences to determine what’s the best target mode of communication. So, there’s definitely people who still prefer to receive mail, but looking at our list and knowing exactly who that is, and knowing how old people are, because people over 60 are totally cool to get a season brochure and a request for donation or ticket purchase by mail, and don’t want to do that over e-mail. And people under 40 don’t want to get mail. Unless it is a personal letter, they really don’t want to get what looks like corporate mail. (Rinuccio)
The challenges of cultivating personal one-on-one contacts through careful relationship-building, the essence of public relations practice, was mentioned by a few participants:
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The most challenging aspect of communicating and disseminating information is the word-of-mouth; it’s actually making a phone call. That is very challenging. It takes time, it takes a certain degree of talent that not all volunteers are comfortable with, and if I could have another 24 hours a day, added to the 24 hours that I have, I could possibly do some of that job, but that is the personal contact with our audience, [it]is one that is fairly difficult to maintain. (Marcello) I would say that each of those core audience members was cultivated one by one. I think, you know, sometimes we make a mistake of thinking that hordes of people are going to come just because you do something. In fact, it takes a lot of cultivation. So, I would say yes, we do have a core audience, and it was difficult to build it up. (Rudolfo)
One participant reflected on the difficulties of focusing communications content, when there were so many aspects of their work to disseminate:
We have so much to talk about, there is the method of transportation which ties in to the environmental aspect of the company. There’s also what the show is about, what they’re about to see. The last two years, we’ve done full length shows, so that’s been easier. But in the past, we’ve even done a program of scenes, so you have to talk about each one! And each composer. There is so much to talk about. And then themes that we’re interested in: operas about current issues. // We are interested in themes about women because, you know opera has presented women in different light, and telling women’s stories from now in a modern context, and also like social justice in general. So, there has been so much to talk about that sometimes it’s hard to filter it down in a way that’s accessible for an audience to understand. (Musetta) One participant talked about the difficulties of accessing audience contact information when working with an external ticketing system, linked to their performance venue. (Liù) A few other participants expanded on that, and discussed how it was not possible to access the analytics on their audience, when working with external ticketing systems linked to performance venues with which they worked:
We don’t use analytics as much as we could or should. So, we don’t have a system that shows us exactly where somebody comes from, partly because we don’t control our own ticketing system. So, we can’t see the channel that they came in from, what steps they took to get there, what ticket they bought, what show they came to, etc. (Turandot)
A few participants worried about information overload, and that people are generally inundated with information online, with can lead to apathy with regards to responses and engagement. A few also discussed the limitations of e-mail, with one mentioning the particular challenges that lie with operations within Canada:
The challenge with e-mails is, that obviously in Canada, we face strict legislation. You can’t just be like, ‘Oh I think that person is going to want to hear from us’ and add them 103
your e-mail list. You’re preaching to the choir a little bit when you are sending an e-mail. Obviously, you want your list of a few thousand people to buy your tickets but essentially you are just e-mailing the same people, so trying to get that outreach is hard. (Turandot) About half of the participants highlighted challenges associated with Facebook. Their ideas focused on issues such as whether or not some of their core audience were actually using the platform, the time it took to cultivate a presence, whether or not interaction resulted in attendance at performances, and the fact that the platform had evolved from a free platform to a paying one, as explained by one participant below:
It used to be Facebook and that’s not really the case anymore, because pages [organizational Facebook ‘page,’ or site] are not as visible any more … About a year ago Facebook, it really messed up a lot of things for a lot of indie companies. It used to be that you have a page and you’d post something on your page and most people would see it, especially if they ‘like’ your page. But as time was going on, what was happening, that the more you would advertise something, ‘boost a post,’ [pay to have your post seen by more networks] the harder it was to get people actually to see it when you were not actually ‘boosting it.’ They were trying to make it that you would need to ‘boost it.’ And now they posted a friendly message to basically tell us how in order to be seen you basically have to pay money, because they’re saying, ‘Oh, you know we’ve heard feedback from the community that people are really craving the interpersonal aspect of Facebook that used to be. So now we’re going to be making it so you’re going to see more of your friends and family and less of the pages.’ And when they really want to reach out to you then they will have to pay for it. So now, all these smaller companies who were using that, now we have to pay. (Suor Angelica) With regards to other social media platforms, one participant talked about how Instagram was limited in terms of getting out event information, and a few participants discussed how they found Twitter to be challenging in terms of usage, and not effective for selling tickets.
One participant highlighted that it was a challenge to reach traditional media and bloggers, in order to increase awareness of their activities and programming:
And then I mean communication to trying to get the blogs to do a preview on us, to get the papers and the media involved and we have a network and we’re trying to push outside of that. But it’s difficult to get beyond the opera people, [getting them] ‘gung-ho’ about covering a small company that has a small audience. (Liù)
A few participants reflected on the challenges posed by limited resources, which created multiple difficulties for their boutique opera companies, as seen below:
The main challenge, and that’s applicable to any organization that is operating these days is resources. You know, our opera company is limited in terms of its staff, number
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of volunteers, money coming in, and you will find that this is the crying point of almost of all these organizations, even the big ones. That is a major challenge. (Marcello) The number one challenge is that there’s three of us running the company right now, and we pay all of our contractors like the singers, the stage managers, the musicians, all of them in the show, but all the administration is done for free right now. The main challenge is having enough hours in the day to do all of the stuff that we do for free. We definitely always talk about where we could improve and we’re very aware of it, but that’s a challenge. We’re just under the threshold right now in terms of operating granting [governmental granting initiatives]. It’s still not available to us, so we have to continue on for a bit longer this way, before that is a possibility for us. (Liù)
A few participants also discussed how they had limited time to carry out all their communications activities, and another commented on the challenges of managing volunteers who helped them with their communications.
6.2.8 Issues and Challenges - Specific Audiences Outside of the Core
The nine participants communicating with specific audiences recounted the challenges they faced, and their experiences are now explored. When participants spoke of the challenges they faced when communicating with their core audience, a few mentioned adapting to this audience. A similar theme on finding the right communications voice emerged, when participants discussed the challenges they experienced when communicating with specific audiences. A few participants discussed their feelings on this theme, with one mentioning the challenge of keeping an authentic artistic voice in communications, when someone else on the production team was handling communications, as observed here:
I think, when we were at [the venue], the production manager took care of social media for us, because she liked doing that. Kind of line up all the stuff, but it wasn’t totally satisfactory. Because it’s not the artistic voice. // An authentic artistic voice, rather [than] just someone whose job it is to spin information. I’m thinking, it can feel sort of generic or wrong. (Nella) A few other participants mentioned the challenges of finding the right communications voice when engaging with diverse groups, explained by one participant here:
So, it’s just a little more work and learning about other people and other identities and really understanding, or at least learning about, the struggles and barriers and challenges that they might face, and being aware of those before going into a conversation or trying to initiate a conversation. (Lauretta)
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Another theme discussed by a few participants was the challenges of engaging with those who don’t know opera, as shown below:
One of the big questions that we’re trying to figure out and answer, so are many other companies in Toronto and around the country and the world, I’m sure. A lot of the conversations around [is], ‘How you build audiences that don’t know opera,’ right? How do you build an interest in opera with people who are unfamiliar with it, who think that opera is expensive or fancy, or only want opera that is expensive and fancy because that’s what they think that it is. If they’re going to try it, they want the COC [Canadian Opera Company] experience. I love this experience: I have a COC subscription, I enjoy that as well … So, it’s not to denigrate one or the other. But how do you make the variety work so that everything can be sustainable? So, building audiences is something that is a nut that we need to crack, and have certainly thought a lot about, and have taken action on in some ways with varying success. (Turandot)
A few participants discussed how specific initiatives that were linked to the theme of one show, would not necessarily build a long-term audience, and would be experienced as a one-off success. An example is shown here:
When we did our [name of show] we really leveraged the free [name of alcoholic drink] thing. We had some people come back who were basically there for the [name of alcoholic drink] and the party. And that was great! But that’s again an audience that would be interested in that only. And that’s fine. (Liù) Predicting audience numbers while on tour was another challenge described by one participant, as seen here:
Often when we are [touring] to a town, we have no idea what kind of show we’re going to get into, unless they’ve been communicating how the tickets sales have been doing … It all depends on what the sort of local communication scene is, which we try our best to tap into, but honestly, we don’t know the scene until we’re there. (Musetta)
A few participants discussed the challenges posed by public relations and external media. One provided details on the evolving nature of arts journalism illustrated below:
Compared to say a decade or more ago, most of the print outlets no longer have dedicated reviewers or arts reporters. So, the major news organizations, they used to have somebody on staff whose job was, like, write a column about all the arts things going on, write another column about an opinion about an arts issue or whatever. Go to all the things and write reviews … Now they maybe have a freelancer who pitches a story and an editor is maybe interested, so it has to really be something click-baity that people are going to definitely want to read, that might get them views that they wouldn’t have had before. And when they have to decide, ‘Oh am I going to write about this performance?’ They are deciding, ‘Do I write a preview if I really want to support these organizations, that might get them an audience who didn’t know about the thing 106
before. But if I’m writing them a preview I’m not going and also reviewing it, because I can’t pitch two pieces about the same show.’ So, you’re not likely to get both from many writers. (Giorgetta)
Participants also discussed how their activities took up people’s energy and time, as well as the challenges of acquiring people’s contact details, with each of these themes mentioned once.
The most prominent theme that emerged from the experiences of participants who were engaging with specific audiences, was costs. Financial challenges were also highlighted by participants when they discussed communicating with their core audience. A few participants told of how their activities faced financial limitation, as explained by one below:
I think that the answer to literally any question anyone can ask me about ‘What are the challenges, and what we do’ is - money! - always money! So, if I’m looking at, ‘Can I give a hundred extra dollars to an artist, or can I buy an ad?’ I really want to give it to that artist and just hope for the best that someone will buy a ticket. It’s really hard for us to justify spending on those elements when there seem to be more immediate needs. And I know that there’s an argument to be made for long range planning. If we built our audience really large, we would have more funds theoretically to pay artists, or to do more things artistically. But almost no performing arts organization subsists on ticket sales. So, it really doesn’t seem to me like the place to put our focus. In terms of communications, if we magically had fairy godmother money, we would probably buy more advertising and things like that. But it’s just not where the priorities are. (Giorgetta)
6.2.9 Issues and Challenges - New Audiences
Ten participants were actively engaging with new audiences, and when they reflected on their activities and experiences, many challenges were recounted. The prominent theme that developed from the interviews was how to find the right approach when reaching out to new audiences. About half of the participants mentioned this challenge, and their thoughts will now be examined. One participant spoke of how it was a challenge to get new audiences outside of their comfort zone, as described here:
One of the hurdles would be to get someone to go to something that they don’t normally go to, even if there is a connection. We still found that the majority of our audience have gone to opera and music events. (Mimi) Another participant highlighted their personal approach and the authenticity of their communications, and how they had to cultivate personal connections, or else new audiences would not be compelled to attend:
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You have to do [it] one by one. They’re not just going to flock to [it]. I think also just being honest and sincere about the story telling and making sure that you’re not perceived as being exploitative, that’s a big thing too, it can get kind of thorny, if you’re not careful. (Rudolfo) The challenge of breaking beyond one’s extended networks was described by one participant, when they recounted: “The challenge is getting outside one level removed. We’re continually trying to do that.” (Liù)
Predicting audience behavior proved to be a challenge, with one participant musing on their experiences:
If I knew the answer to what attracts somebody to a project, I think you would be wealthy. You try all of these different things, and sometimes you advertise hardly at all, and people flock to it. For some reason, I don’t know, there’s nothing going on that night, or there’s somebody in the show that is particularly-. And other times you cover the city and you feel you’ve got everything, and you know, the attendance is disappointing. It is an age-old problem. (Rudolfo) One participant spoke about the challenges they associated with breaking the opera genre stereotype. Their desire to have opera in the mainstream, and in this case dissociated with any negative preconceptions, is discussed below:
The challenge is that we’re still in the middle of this. We haven’t broken into the main stream. Even in Toronto, to be a name that is known by people who don’t know opera. In the way that Cirque du Soleil was able to. More people know what Cirque du Soleil is than [just] a circus, now. // Sure, that’s a super cold call, right? If you go to a room with people not interested in opera trying to sell them tickets to an opera, it’s gonna be years of multi-platform, multi-thrust campaigns to do that. (Rinuccio) Another participant discussed the challenges faced by a boutique opera company trying to find ways to reach new audiences without expert advice in the marketing field:
Just like knowing how to market, I think that’s a big challenge, just understanding how to market to new people, because I think if you’re telling the right stories, you can bring in new people. But, you have to figure out how to reach them, and I think that has to do with marketing and I don’t have anyone who does marketing yet. (Lauretta) Another theme which was also mentioned in the challenges on communicating with the core audience, was adapting to the evolving nature of social media. A few participants mentioned they faced this challenge when engaging with new audiences, with one participant giving details specifically about Facebook. This participant’s thoughts also align with the previous one’s challenges with marketing, in that they discuss the difficulties of being an artist in a directorship
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role who has to be an expert in other fields, in this case social media communications. Their detailed comments are below:
I think one of them is the ever-changing algorithms and rules that social media are using to send things out. Because it used to be quite straightforward that if you posted something and that it was new, people would probably see it. If their friend ‘liked’ [action on Facebook] it, it would probably pop up somewhere. And it’s starting to seem increasingly like you absolutely can’t get in front of people’s faces unless you have paid for that post. That’s Facebook specifically. // So, we end up having to specifically say: ‘please share to people who might be interested in this, this and this. And share!’ - not click ‘like’ and hope for the best, because people are not going to see things the way they used to. And that’s huge, because of course there are people whose whole career is teaching people when their Instagram post is going to get the most ‘likes’ or whatever. And you can make that your whole life! Which I do not want to! But you do have to be a little aware, just even as users noticing when the patterns change, and thinking how is that going to affect our use as an opera company? (Giorgetta)
Another theme mentioned was finding the right content for communications with new audiences, with a few participants reflecting on this challenge. Also, the difficulties of having to do several jobs within the artistic vision is highlighted by this participant. It can be a challenge when describing one’s own work outside of the rehearsal and performance space, and then taking those personal ideas into the realm of official publicity and marketing, as shown here:
When you’re talking about communication, what are you trying to communicate? ‘Come to my show at six o’clock on Friday.’ Yes, there is that kind of utilitarian thing. ‘Why would I want to come there?’ Well, then you are sharing some core of the work. Why would that speak to you as a human being? Why would you want to spend your time and effort to go and be there? Why do you want to be part of it? … So there’s something-, like the tone-, that’s tricky, the tone of the e-mail. I think about it a lot. Because I don’t like braggy stuff. Especially if it’s about my work. I cannot say ‘One of the most gifted young da-di-das of our generation.’ I can’t say that about myself, and it’s a kind of ridiculous thing to say about anyone, actually. (Nella)
One participant highlighted the importance of authentic messaging, and how communications and artistic experience must align:
Press is super important, especially trying to get the big new audiences, but one of those things is that it needs to not just be-, the positioning is hard to crack. There has to be the right amount of buzz and interest without short selling what the show is actually going to be. You can say all you want like, ‘This show is like a raunchy frolic or whatever’ but ultimately, if they’re coming there and they don’t feel it, then you don’t want to have missed that. (Turandot)
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Another participant mentioned the challenges of finding the right communications content when reflecting on their own definitions of the operatic genre, and how to share that with new audiences who would have their own possible preconceptions:
If you say ‘opera’ to anyone, they mostly will know what it is or they’ll have really an immediate idea of what it is, and that is not what opera is to me. So, trying to redefine what it is, or trying to do something different under the umbrella of opera is challenging, and getting people to buy into it and say ‘Oh yeah, that sounds cool.’ So, that’s always difficult. (Lauretta)
Working with host organizations and respecting them, their communications and communities were also mentioned as a challenge. In this case the participant highlighted the importance of knowing the tastes of one’s audience, and trusting their host organization to do so, as shown here:
It’s not so much a challenge as it is a way of letting them preserve their way of doing things. So, they can have ownership, instead of telling them how it goes, and letting them-. If their poster looks folksy instead of professional, let it look folksy, because that’s what that community looks at, and knows. (Gianni Schicchi)
Other challenges mentioned once by participants included: costs; (Lauretta) defining what the best practice is; (Lauretta) communicating non-standard repertoire; (Marcello) attracting publicity on a new organizational approach, (Liù) and how to align communications and activities with diverse communities (mentioned a few times). One participant (Marcello) also mentioned unforeseen events beyond one’s control, in this case it was political, however in the arts world there can be many instances when things change, such as funding, availability of artists, venue changes, governmental policy etc.
Participants also mentioned the challenges associated with reaching out to new older and younger audience demographics. One participant spoke of expanding beyond their networks and trying to focus on the older audience, while another spoke with a long-term view of the necessity to cater for the needs of the younger audience, in order to curate their involvement for the future. Both of their views are explored below:
We have had limited success so far, we haven’t really made the biggest effort to really expand beyond that audience, I mean we are always trying to grow, but it’s been a bit of an incremental growth. We haven’t figured out how to ‘capture’ this third or fourth whatever audience, outside of those ones [core audience and specific audience]. So, we kind of know who those people are, we typically have contact information for this. We do 110
a lot of work in our network so, certainly e-mails are a really important part, especially for that older kind of patron age group. (Turandot) I am seeing that people under the age of 20, people that will be in our age group, over the next five to ten years say, don’t have Facebook anymore. They’re all on Instagram. So that hasn’t caused a problem with us yet. So, we do need to have an Instagram presence, but it’s good to keep in mind because for me. // Yes, even if they are not our audience yet, but hopefully they will be our future audience. (Mimi)
6.2.10 Ideals and Hopes - Core Audience
Participants reflected on the ideal means for communicating with their core audience, and discussed a personalized approach to their relationship-building. A few favored one-on-one contacts, with a few highlighting ideally using the telephone, and one advocating for personalizing letters, as outlined below:
Oh boy. Well I mean the in-person attention is always better, I think. People can see your face, and you can see theirs. (Rudolfo) I really like calling people after they’ve come to a show, because not everyone loves the show but when you find someone who does, then it’s actually really an organic conversation and feels like they have an opportunity to share their experience as well. (Rinuccio) Amazingly, and this is the old-fashioned. Send a letter that is personalized. (Marcello)
A few participants favored the effectiveness and ease of e-mail, with one of the participants explaining some of the benefits below:
I would say, it depends on what I am trying to do. If I’m trying to sell tickets and I’m getting near a showtime, or if I am trying to get singers to audition or something, e-mail is, far and away the most effective way of getting someone to take an action, because we’re still a small company [but] I’m sure a lot of people will still ignore e-mails. But e-mail is still a pretty effective means of communication when your audience is interested. And they are generally interested if they are on a list for a little indie opera company that focuses on emerging artists. (Turandot)
Social media in general was favored by a few participants, who commented on its versatility, cost-effectiveness, ease of use and how one needs to maintain all of its platforms, as seen below:
The internet is easy. And you can reach more people that way, and so I’d say that’s probably our favorite means. And then that leads [the] way to blogs and all that sort of stuff. I think the internet has really provided a platform for young companies without a lot of money to develop and to get seen. We don’t have the money to be buying ads places, all of that sort of stuff, and the more traditional stuff that you used to have to do.
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And we tend to think that we have a better understanding of how social media works. However, everyone is catching up now. We’re getting there! (Liù) So, it’s just to say that I don’t think it’s enough to rely on any one source any more. It used to be you could rely on Facebook, but that’s not the case anymore. You have to figure out, what are you trying to get out of all these different sources? And also knowing that you might, if you focus on one too much, you might miss out on certain people that focus on another area. So, just have to do it all. (Suor Angelica) The benefits of Facebook and Instagram specifically were favored by a few participants, with one saying how these two different platforms performed well for different activities and communications:
Actually, getting the event information out itself, is Facebook, and trying to connect it with as many people as possible, and getting them to share the information as well … For us, part of what we do is very visual and visually unique. So, Instagram is good for that. They all have their own functions, but I’m not going to be getting really a lot of event information out on Instagram. It’s more about excitement and video on Instagram. And getting people feeling invested in the creation of the work, which is also one of the things that I try to do. (Suor Angelica)
6.2.11 Ideals and Hopes - Specific Audiences Outside of the Core The nine participants who were communicating with specific audiences discussed their ideal means, and a theme which emerged was one that focused on a personal approach. This theme also aligned with some of the findings on ideal communications with the core audience.
One participant’s ideal was maintaining a relationship with a contact person to advocate for their activities, while a few participants discussed how their ideal was always one-on-one contact. One participant also elaborated on the one-on-one theme, and spoke of how aligning interests resulted in ideal communications. Their thoughts are explored below:
I really prefer in-person, because you just get a sense of who that person is and what they’re thinking about and feeling. (Lauretta) It kind of boils down to that, doesn’t it? [one-on-one communication]. We have a special interest in opera but it dove-tails with another interest that another group may have. So, if we can summarize what we have in a way that fits it into what they are interested in, then we have successfully communicated. (Giorgetta) E-mail was considered an ideal means of communication, however only if it were personalized to align with individuals one-on-one, as seen below:
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I always try and do specific e-mails, like individual e-mails to them … Personal connection always helps, and the reason why you in particular are right for this, and it would be something good for you, rather than general reasons. (Liù)
The effectiveness of multi-touch marketing and public relations was the ideal for one participant, who explained how a presence on multiple platforms could prove successful. Also mentioned was how it was difficult to quantify results, and that combining expensive and inexpensive communications was necessary. The detailed explanation is below:
I’m a strong believer in the extreme importance of multi-touch marketing. For someone to make a decision, sometimes an article in Toronto Life [Toronto social magazine]: great! Definitely gives you credibility, kind of a cool factor, relevant, you know. If the Toronto Life is writing about you, the people are paying attention. But, what is even better is, if you see that, and then you are on Instagram you see a paid ad, because we think you’re the right audience, so we’re paying for your eyeballs. ‘Oh yeah, I read that article about them, that looks cool!’ And then, maybe you see another piece of PR or hear about them on the radio, or you’re browsing a site, and you see an ad. So, we don’t know which of those touches we can attribute your sale to, but all of them are important and not all of them are necessarily equally trackable … Digital is cheap so, Facebook and Instagram ads like that are inexpensive to buy, digital ads are pretty inexpensive to buy, so it’s great because you can get yourself in front of a lot of eyeballs, but if it doesn’t have resonance, if it doesn’t have the credibility of some kind of other buzz, it might not mean anything to you. So, the other buzz is expensive. Good quality PR doesn’t have to be expensive if you are very good and creative at it. (Turandot)
6.2.12 Ideals and Hopes - New Audiences Ten participants were actively communicating with new audiences, and they reflected on the ideal means that they favored. Social media’s extended networks and efficiency proved ideal for a few participants, and their views are expanded upon here:
I’m finding that this quick on-the-run way of doing things is the best way. I favor the way it is. It suits me as well. (Gianni Schicchi)
Because it’s ostensibly free-, social media. Because it’s really throwing a wide net and you have no way or very little way of tracking its potential success. It’s not worth a lot of money when you’re operating on a small budget. (Giorgetta)
Another participant idealized the notion of evolution, such as continuously expanding on production ideas and show environment, and the idea of always improving one’s methods, as explained here:
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We have to do our job better and better every year. I mean, we’re already doing experiments with punk rock and rap and Persian classical instrumentation. I think continuing to tap into the multi-culturalism of Toronto, and not have shows that are too long, and not have long line-ups at the bathroom, and have fun drinks at the bar! (Rinuccio)
The last participant (Rinuccio) also discussed how the ideal would be to get influencers in the media and popular culture onboard with their activities, which would broaden the scope of communications with new audiences. Another participant highlighted how recourse to professional public relations could help. (Turandot) Other ideals discussed by participants were the strength of posters and flyers, (Mimi) and the resonance of communicating with a strong visual image. (Nella) Additionally, the desire for extended resources, in the shape of a dedicated communications person was voiced by one participant: “Having one person who could be dedicated full-time to outreach would be amazing, but we just don’t have that.” (Liù)
6.3 Concluding Remarks
Participants discussed the successes, benefits, challenges and ideals experienced as a result of their communications with their core audiences, specific audiences, and new audiences.
When reflecting upon their successes, themes emerged from the interviews. A common theme that emerged between communicating with the core audience and specific audiences, was that of using a personal approach to cultivate relationships. For the core audience, participants found successes with online tools such as e-mail and social media. When communicating with specific audiences, participants focused less on online tools, and relied more on communicating the stories relating to their programming, adapting their messages to specific audience groups, and external publicity. A variety of communication activities with new audiences emerged in the findings. Successes relating to new audiences included activities that would encourage involvement, such as info sessions, as well as presenting in new and unusual venues. Relationships with other arts organizations and tapping into their established audiences proved successful for attracting new audiences, when participants established cross-promotions activities. Strong promotional content and images were also reported as successful means of reaching out to new audiences.
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Participants experienced benefits when reaching out to their core audience, with the most prominent themes being those of caring for this cultivated audience, and ensuring that organizational and programming information was communicated. Ticket sales were a benefit, and in some cases, could be linked to e-mail communications. In general, the cost-effectiveness of online tools such as social media was also seen as positive. Experience-led activities that enhanced audience involvement were beneficial, such as workshops and info sessions. When communicating with specific audiences, participants noted that their activities increased their audience, and enhanced awareness about their boutique opera company. The benefits of getting to know specific audiences better, and finding common interest points with them, were also discussed by participants. For new audiences, the most prominent benefit experienced was that of enlarging the audience. Participants enjoyed how their activities extended their networks with new audiences and other arts organizations, as well as allowed people who were new to opera to take a chance on it!
Commonalities arose relating to issues and challenges with all the audience groups. Participants discussed how they faced limited time and human and financial resources. They also faced financial challenges when trying to gain external public relations coverage with traditional media sources, either through hired publicists or paid advertising. Finding an authentic voice and adapting to the needs of different audience segments was also a common challenge highlighted by participants. When cultivating relationships with their core audience, participants found they had limited time to dedicate to the one-on-one approach which was important to them. For specific audiences and for new audiences, participants found that they had to address negative preconceptions about opera, and that it was challenging to break through that barrier. Having to undertake multiple roles relating to social media and marketing expertise was also a challenge that participants faced, when reaching out to new audiences.
There were commonalities between the ideal communications discussed relating to the core audience and specific audiences. Participants favored a personal approach to their communications and hoped for opportunities to use external media and public relations. With the core audience, participants favored the efficiency and cost-effectiveness of online tools such as e-mail, which would align with established relationships (those audiences would have consented to contact, thereby also showing their interest). When reaching out to new audiences, participants 115
also highlighted the ideal of social media for reaching new networks, and they enjoyed its efficiency and cost-effectiveness. They also highlighted the strength of good imaging which helped attract new audiences. Participants also hoped for more time and human resources to increase their relationship-building activities aimed at new audiences.
In the following chapter, I present findings on how participants are experiencing their involvement in the boutique opera world, on both an organizational and a personal level.
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Chapter 7 Organizational and Personal Involvement
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Organizational and Personal Involvement
It’s an ongoing challenge certainly in an industry where our model [is] hovering around 10% for revenue of ticket sales, and so 90% is raised otherwise. So that’s a lot. And as our budget grows each year 90% is bigger dollars, so that’s a challenge and it’s always scary every year turning out. ‘Oh, we have to raise this!?’ And we’ve been very lucky that we’ve been able to do it, but it certainly always is a challenge trying to get more and trying to not over-ask from the generous people that have been our core base, and trying to grow that core base is definitely it. A challenge, but a challenge that we know we welcome. (Liù)
I did a piece which was with a choir and everyone was singing. It’s an indigenous song about water, in a circle, and greeting each other and then the audience were coming, and we’re going in these two circles going in opposite directions just singing to each other and kind of shaking hands. Kind of like ‘Whoahhhh!’ It was so beautiful! I feel so lucky. (Nella) 7.1 Introduction
In the previous chapter participants recounted who composed their audience segments, and how they were communicating and building relationships with them. As audience groups are identified and connections established and maintained, how do participants manage their organizational and personal involvement? Participants reflected on how they planned their communications strategies, and the personal benefits and issues they experienced during these activities. On a personal level, due to the intensity of their work, participants faced the dichotomy of experiencing both extreme benefits and challenges. I will explore their thoughts in more detail now.
7.2 Boutique Opera: Behind the Curtains
7.2.1 Program Planning
Out of the twelve participants in the current study about half were planning their communications strategies ahead of their season’s artistic programming. One participant stated their enthusiasm, “Yes, yes absolutely I do” (Rudolfo) while another mentioned their intention to increase their planning activities, “Yes; not as much as we would like, but yes.” (Liù)
A few participants were not actively planning their communications ahead of their programming, however they expressed a wish to do so in the future. One participant mused on how “One is
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supposed to do that … I never do it before the season,” (Suor Angelica) while another commented on the dichotomy of their activities, “It’s funny because as somebody who has done a lot of marketing, I have not practiced the rigor in our opera company in the same way I have practiced the rigor elsewhere.” (Turandot)
A partial approach was taken by a few participants, who were planning some elements of their communications in advance, and leaving some aspects of their planning activities for during the performance season, as illustrated by the following:
It depends. Yes and no. Some things come during the season … but other things happen ahead of time. (Gianni Schicchi) We are moving more and more to do it in advance. We have our communication and marketing strategy. It has a work back … But we wouldn’t necessarily have all of that in place for when we release the titles of the shows for the season. (Rinuccio) It’s kind of both because the thing is that we have no money. For example, I haven’t yet announced this year’s events because there are so many grants that I am waiting on. (Lauretta) The last participant expands upon the challenges that arise from financial restraint, and relying on the schedules implemented by the governmental granting organizations.
Participants’ views on planning their communications in advance of their season’s programming will now be examined. One participant reflected on how preparing grant applications helped focus the planning process, as referred to here:
That’s part and parcel with many grant applications. How are you going to advertise or what community groups does this involve? So usually a part of the communication strategy develops with the birth of the idea for the project. Not just because we have to write it in a grant application, but because all of those things coalesce together at the same time in our minds. (Giorgetta) Another participant discussed how conceptualizing their program planning led to creating their communications strategies, as shown below:
We try to think of what strategies we are going to use for image selection, tag-lines, naming the show, because our shows generally tend to be a collection of different repertoires. We put things together. So, ‘What would be the over-arcing name for that’ and then we pre-plan … [everything is] all scheduled. (Mimi)
With regards to scheduling, a few participants were planning their communications activities less than a year in advance of their artistic programming, as outlined by one participant, “We like to
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distribute, at least announce our performance two to three months before it’s happening, then we’ll probably plan it six months before it’s happening.” (Mimi) A few participants planned their communications about a year in advance, illustrated by one participant, “The communications themselves, I think, probably only one [year]. The planning of seasons can happen two or three years in advance.” (Rudolfo) Longer term communications planning was practiced by a few participants, who organized their strategies three years in advance. Participants discussed how there were many factors that contributed to their three-year planning cycle, such as granting cycles, artist availability, and the creation of new artistic concepts, as illustrated below:
Right now the funding agencies of the government have implemented a three-year cycle of funding. It had been, as a result of many organizations wanting to be funded for more than one year at a time. But what most of us realized is that if we want to be funded for more than one year at a time, we have to have a program for three years! OK!! (Marcello) If you’re talking about planning ahead for funding, and planning ahead for artists’ availability, and for adaptations and things that we’re working on ourselves, that takes really a long time. I would say three [years]. (Giorgetta)
7.2.2 Issues and Benefits
When participants reflected upon their planning activities, many challenges arose in their comments. Illustrated below are the themes that emerged from interviews with the participants:
• battling logistics and time; • the ability to meet a planning goal; • engaging in the communications role; • adapting to new modes of communication; • choosing communications content; • limited personnel; • financial aspects, such as grant availability and requirements, financial security, responses from the corporate sector.
A few participants illustrate the challenges they experienced relating to logistics and time, as detailed below:
It is pretty much across the board, that always, that time resources are a big challenge no matter the size of the organization, even. It’s always going to be ‘the thing’ with arts organization. (Mimi) Time and having the time to plan. We do planning, but not as detailed as we would like and so sometimes the details are happening as we’re just doing it. (Liù)
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The need to adapt to the evolving demands of the communications landscape is expanded upon by one participant here: You can plan all you want three years ago to make this or that kind of Facebook post, which the button for that might be gone by the time you need to do it. So, you have to be flexible with those plans. I think this is the issue with every communications plan in any field. It has to be really detailed and then you have to be able to change it in the moment when you realize ‘oh that’s not the right way to do that anymore.’ (Giorgetta) Another participant reflected on the difficulties of choosing communications content, musing on how revealing too much about a performance has the potential to de-mystify the art, and can provide an inauthentic narrative about audience expectations:
We don’t want to tell everybody what’s going to happen or everything that’s going to happen because there’s a magic or there’s a kind of, you want them to go ‘Ohhhh!’ Yes, you want them to be shocked or surprised or delighted because they didn’t know. So, it always bugs me a little bit when people go overboard saying, ‘You’re going to laugh hysterically, you’re going to cry buckets of tears and everything.’ You don’t. Because I hate being told what to feel, you know! So, we would use words like ‘entertaining,’ ‘engaging,’ ‘mood,’ which are sort of neutral words but they invite people to an experience, then they may not exactly know what to expect. (Rudolfo) The challenges of having to fully engage in the communications role, alongside one’s artistic activities, is observed by one participant here:
Well, yes, for instance, it’s switching gears when you’re in a creative process, to then go to the communication mode. (Nella) Participants mentioned the challenges involved with applying for government funding grants, with regards to both requirements and availability, as shown in more detail here:
So, one thing that kind of helps remind you that there is work to be done even early in the process is that if you are applying for grants you usually have to show them what your plan is in terms of the audience, who the audience is supposed to be, how you’re going to get them, how much it’s going to cost you to get them. That is something that we usually think about a little bit. (Turandot) There are some things that will definitely happen, but I don’t know where-, like if one of my grants doesn’t come through? So, it’s a bit of a bottle neck when you don’t have a buffer, you can’t for sure commit to something until your grants comes through. (Lauretta)
Many benefits were mentioned by participants, when they shared their thoughts on planning their communications activities. The themes that emerged from the findings are listed below:
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• provides a platform for shared experiences, such as contact with audiences, creating opportunities for others, satisfaction in co-production; • enhances message, consistency and quality of message; • financial assurance; • peace of mind; • security in programming.
Establishing and maintaining contact with audiences was beneficial, and a few participants share their views below, with one focusing on new audiences, and another on the expectations of regular classical music goers with regards to planning:
It is a strategy to communicate with other people … the strategy is still breaking into a new market. (Rinuccio) Being able to announce my season, for example, in late spring when all of the big companies announce is really beneficial, but I can’t. Being able to plan ahead, of course, I would definitely prefer that. Because, the regular audience that would come to an opera or a classical music event, they are used to certain ways of things happening. So, even if they come to an event where it’s weird and different and they take a risk on a different kind of show, the system of how people, core audiences get their information and when they expect to have it, it’s still there. So, it would be nice to be able to also do that. (Lauretta) Creating opportunities for others was a benefit that participants enjoyed, illustrated by a few participants below:
Well, it does form a kind of document of your projects as well, so that’s good to have to do. And I think when you share process, it gets people-, it gives them an insight into what’s involved. (Nella) The satisfaction of bringing a musical event and happening to a place that would not otherwise have it. The satisfaction of enabling young singers in their career trajectory. (Gianni Schicchi) How planning ahead provided both consistency and quality of message was explored by participants, as outlined here:
I think it’s worth it to have the consistent messaging and material to pull from, ahead of time. (Musetta) I would say just having the time to be able to edit it to make sure it is good to go, not scrambling. (Mimi) Planning communications also provided security and comfort to participants, as highlighted below:
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Well, there is peace of mind! But the thing is that then, you do your research in advance and it provides comfort. (Marcello) Having everything ready to go is huge and knowing when it goes. (Musetta) Programming security provided by planning was mentioned by participants, with one discussing how their activities allowed them to develop relationships with artists, while another spoke of how planning their publicity materials could help them focus their artistic planning. Their views are provided in more detail below:
It also provides security. You can approach [some] people [artist name] in advance and say, ‘You know, I’m doing this in two years, would you be available, would you be interested, are you going to be in town?’ Then you have a relationship with your artists which is very important, because if it’s from year to year, to year, you can only approach an artist when you know that you have the resources, but you also know that you have the dates secured at the theatre, and you can sort of give that person a little bit more assurance. (Marcello) Well, if it involves an outlay of money, then there’s budgeting. You then know what it’s all going to cost. It also forces you to be organized. It can get very close to a show and you still don’t really know what will be on that show. You can sort of go, ‘I know it will come together at some point.’ But with publicity you have to, it kind of forces you to get a program, the exact program. (Rudolfo) 7.3 Personal Involvement
7.3.1 Personal Benefits
Participants reflected upon the benefits that they experienced as a result of their work within the context of their boutique opera companies. When holding positions as artistic directors, participants found they learned from being active in the role, that the role increased their status, and that they were able to support other performers through their work. Participants also found that they learned new skills, and that they greatly enjoyed the whole creative process.
A few participants discussed how they learned from their role as artistic director. One described how they were thriving in an environment where quality and hierarchy were evolving, and that they were experiencing a circle of knowledge, which stemmed from the newly developed relationships in Toronto’s opera scenes:
What is disturbing, as well as encouraging, is that the vanity projects that are so being fuelled are also leading to better discernment, so that a quality pyramid is arising out of all of those vanity projects, and people are now discerning that it’s not all equal, and that there’s a hierarchy. So, it’s shaking itself out. And it’s great to see that develop. What is 123
also interesting is how the established opera companies are surprising, and not always in a good way, in their hierarchy of engagement. Some of it is elitist, and some of it is extremely generous. And we are all learning who is doing what, and in what way. So, [for] some, they only deal with high aristocratic situations and others are happy to go to the farm teams, and go to the roots of things. We’re learning who to trust, and who is not elitist, and [who is] running things in [an] old ‘noblesse oblige’ kind of way. (Gianni Schicchi) Another participant discussed how they were able to be much bolder in their position as artistic director than they ever were in their role as a performer, which subsequently gave them strength when they returned to their performing role, as illustrated below:
I’ve become better able to do things for myself which I never was before. It didn’t seem worth it. I don’t know whether it was impostor syndrome, I didn’t feel worth applying for a grant or whatever. But I’ll do any of it for the opera company … things that we always just felt we couldn’t approach as individual artists we’ll do for the opera company, in a heart-beat! And then in the meantime, when somebody hires me to just sing notes in a dress on a stage and I’m not in charge of choosing the programming, writing everyone else’s contract and the communication strategy, again I’m laughing! They say, ‘Oh are you nervous?’ ‘Nervous!? I get to sing without counting heads and adding up budget lines in my mind while I sing, this is easy!’ (Giorgetta)
The opportunity to provide support for performers was highlighted as a benefit by a few participants. They discussed how they were able to nurture artists at all stages of their careers, and therefore contribute to the fulfillment of those artists, as shown here:
I benefited personally in the fact that I grew and that I’ve matured in the business that I have involved myself for many, many years. And I have been instrumental in advancing the wishes, the goals, the objectives, the dreams of many singers. And, you sort of say, ‘I’ve done my little bit.’ (Marcello)
One of the major benefits obviously is working with emerging artists, because they get that first professional experience. We try and find the singers that are not necessarily the most buzzed about, we try and find the ones who really show excellence but may have been overlooked. (Turandot)
With all of these indie opera companies, I feel for young singers particularly, not just young singers, singers at varying stages of their development. There are more opportunities now … All of these companies usually have their own director. There are a lot more opportunities for singers to be hired now. (Suor Angelica)
One participant also explained that their artistic director role led to increased status, which in turn helped them establish new relationships within the arts community:
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Personally, it’s great because … it makes me legitimate when I’m like, ‘Hi, I have a little opera company in town. I want to meet with you, tell me what you do with your art or tell me how you tell stories’ … And it also gives me an ‘in’ into the artistic community here, you know. I get to reach out to the different companies and get to know what they’re up to because they have seen some of our work, then they take me seriously, and they invite me in to have discussions and share ideas and all of that, and resources. (Lauretta)
The most prominent theme that emerged from the findings on benefits experienced, was that of the creative process, with about half of the participants exploring this topic. Their views are now illustrated in more detail. One participant mentioned that they enjoyed their work in communications:
But my favorite admin is, I think, doing the communication. I like writing, even though I’m not a visual artist, I like working with the visual people, the photographers, finding our image for the year, the video, and all that. I enjoy that: the writing and talking about what we are doing, and finding ways to spin it, or just present the material. (Musetta) Another participant mused on how their creative work was in fact a successful means of communication in itself, and that their work allowed them to express themselves freely, as shown here:
It’s a great way to meet people … I am actually not that eloquent a person verbally. So, I like expressing myself through programming, and I like people to come to the shows and to make connections and hopefully enjoy and be edified by the shows, and that gives me a satisfaction, it’s a form a communication, I guess. (Rudolfo) The enjoyment that comes from having influence within the arts industry, and of creating work that audiences appreciate was discussed by one participant:
I’m happy to do that because on a personal level it’s very satisfying to create something. // But whether I wanted to be a singer, a director, a producer, whatever. I want to have an influence on the industry I’m a part of. And by being a producer and being a director, but especially being a producer, I have a direct line of influence, and be it large or small, I truly believe that that’s the purpose of this, and it fuels me to do the work that I do, but it is quite exhausting. It can be very thankless. And again, that’s OK, because what ‘the thank’ is, [is] that then you get to make something, and people really appreciate it. I love that. (Suor Angelica) The power that comes from making one’s own creative wishes come to life, and the enjoyment of the entrepreneurial spirit, was described as a benefit by one participant, as shown in more detail here:
There’s a lot to be said for being in charge of a thing, instead of waiting to see whether X or Y gig will just come along, or whether you’ll be allowed to participate in such and 125
such a type of endeavor. Make that endeavor happen if you can. And doing that is not only very satisfying, but it really is fulfilling, because of the way that you get to do those things in whatever capacity, that you might never have had the opportunity to do. (Giorgetta) One participant concluded how their work created a positive contribution to humanity through art, eloquently described below:
I can’t imagine what I would do if I didn’t, it’s just like the way I contribute to the world. That sounds kind of weird but … I think we need more beauty in our lives, and there’s a lot that’s very difficult about the world. And so, I think being able to bring beauty to an unexpected place or time enables people to shift their understanding of their place in the world. Hopefully to one that is more loving and responsible. // And I think the fact that we’re usually unamplified, and there’s a lot of human voice, I think there’s a vulnerability to that, and a delicacy, and it brings people closer and closer to each other. (Nella)
7.3.2 Personal Challenges
Although participants enjoyed benefits relating to their roles within their boutique opera companies, those were counterbalanced by the many challenges they faced. A theme that emerged was the challenge of taking on the role of artistic director, which was accompanied by various demanding situations, which will be explored in more detail. The most prominent challenge that artistic directors faced was that of attracting and maintaining their audience, with a few participants reflecting on their experiences, as illustrated below:
Well, the challenge is to reach that person who is not sure that they will like opera. And that is beautiful. When a person says, ‘Well, I’m not sure,’ then I hone-in, and I say, ‘It’s my position to make sure that you are not sure.’ So, I know that there are a lot of people that hesitate to go to see an opera, and I know that there are a lot of people that go to see an opera, and are disappointed. And there are so many aspects of opera that can challenge the most available or inquisitive or curious member of an audience. // The person that says, ‘No, I will not be caught dead at an opera house:’ that’s a battle. But if the person says, ‘Well, I’m not sure that I’ll like it,’ then there’s a huge opportunity there, it’s a huge opportunity. So, that has been one of my challenges. To understand that process and to figure out how best to address it. (Marcello) The challenge is time and being able to be heard with everyone else reaching out in the same way, because there is so much going on in Toronto, which is amazing and that’s a really wonderful part of the city. But, it also can be a little bit hard to be heard. // I guess trying to mitigate expectations of people, or preconceived notions of who we are and what we do, can be a challenge sometimes. But because we’re a young company that is flexible, I think that there’s more understanding when we pivot a little bit, or do something new. (Liù)
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The biggest thing is still that one challenge: how do you get above the radar? How do you be the opera company that’s like a Cirque du Soleil … I go to Cirque du Soleil and it’s breathtaking and I’ve no idea of what I’m going to see. I know I am going to see physical excellence and things that are full of extraordinary feats, but I don’t know how. So, you are going to buy the ticket anyway ‘cause you trust that company, that brand, that kind of circus, so I want us to be that for opera … I do want people to be able to say ‘No, no, no, it’s not opera it’s our opera company.’ (Rinuccio)
A few participants also described the challenges they faced with regards to working within limited budgets, which affected them personally and logistically, as shown here:
There’s a personal toll and it’s taking me time, trying to figure out the boundaries in your life, because this isn’t a job yet. I mean, I would like it to be, one day. I would love for our opera company to have operating funding one day and for me to be able to work on it in real capacity, but until then … I work less on my side jobs so that I can work on our opera company. So, it takes a financial toll. I invest in our opera company more than just time, but also money. You try not to do that, but if something needs to be done, sometimes that’s what happens. (Suor Angelica) I think the downside is that being a part of the art scene and having this kind of, open communication, and sharing and all of that kind of stuff, is also challenging because I can’t keep up with bigger companies, and I can’t keep up with people who have other employees working for them. I can’t put things out in the same way as other companies do … because we are so small, and we don’t have resources yet. Still working on it! (Lauretta)
One participant reflected on how the opera industry regarded smaller opera companies, which are often linked with a more innovative style due to their boutique nature, however they remained optimistic that these negative views were shifting:
I would say that at the beginning the challenge was that no one in the big opera scene took us seriously. Because there’s a stigma of size and importance, which is funny, because the opera sector as a sector is failing, they have been losing audience for the last twenty-five years, and relevance for the last twenty-five years. And big opera companies have been the leading cause of new works not having a larger audience. The Met [Metropolitan Opera NYC], you know, was one of them, right at the top. So, I always found that to be an interesting paradox, but it’s changing. (Rinuccio)
Another participant discussed how one had to continually be adaptive in one’s activities, in order to maintain innovation, as seen here:
The challenge is the benefit, in that failure is the fuel, and the challenge comes from realizing how the world is changing so quickly, that what you thought was magnetizing has changed. And we need to listen and innovate because it’s not 1975 anymore. (Gianni Schicchi) 127
An additional theme which emerged in interviews with participants, was that of the personal challenges they experienced as a result of their work. One participant had the following to say about the professional traps of being an opera director:
It’s the director [who] is still putting in most during that production time. You can’t have everything else, you can’t teach, you can’t go and do anything else during that time, and there are very few assistant jobs. For a lot of people, being an assistant can be a trap. So also, at a certain point in your career you don’t always want to be doing it. And the only way to get hired is for people see your work, but no one will hire you unless you’ve done work, so you see a lot of directors starting companies … then you start to become responsible for paying all these other people … I really enjoy supporting the community, but that may or may not be what you want to do. (Suor Angelica)
A few participants reflected upon the emotional burdens they experienced, which were associated with their need to over-work, and the intensity of the opera industry. However, they also acknowledged the support system within the industry, which confirms a collegial environment, as explained in more detail here:
And these small companies like ours and other ones in the city, there’s a lot of work and you burn the candle at both ends. (Turandot) I’ve been doing it for a while but at different capacities, but it affects you on a personal level, in that you’re doing everything on your off-time, so it restricts how much time you can spend with your partner if your partner is not part of this. // If you’re not in the industry, the stress is ephemeral but it’s intense. And that can be very confusing. For people who aren’t in the industry, it’s like ‘Why do you do this?’ It feels negative. Then as soon as you’re done, it’s like ‘That was the best ever!’ But before that, you’re losing your mind! // You know, I think on a personal level all of the sacrifices you make, and, I know for a fact, that [for] the other people that run the other companies - we’ve all talked about it - this is a shared experience. No one else really does get it unless they’ve had friends that have talked to them and they’ve really understood. // Sometimes I don’t have the capacity to be able to do all the things that I know I should be doing, because I’m just so tired. // I think the common thread is that producers are a bit of workaholics, and not only are we producers, we’re usually also either involved, or in charge of the creative element as well. (Suor Angelica)
The need to balance different creative roles also posed a personal challenge for participants, and a few discussed the dichotomy of being a performer and a producer, as well as the sustainability issues that arose from the intensity of their work. Their views are explored in more detail below:
People just see you do more and more work and they build trust in you as a professional, but it obviously takes a toll, because it also takes away from the time that you would maybe be promoting yourself as you. It’s tricky! (Suor Angelica)
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I started the company when I was a singer so that I could sing. So other people could sing when they were not in school, because you’re out of school and you’re a young singer and you’re like, ‘Well, do I wait until the next summer program? I need to perform.’ That’s the thing that scares me the most, is standing up there in front of people and doing the thing, it’s the thing you have the least experience with. So how do you get that experience when you’re not doing it in the context of school, and you are not ready for the COC ensemble program [Canadian Opera Company young artist program]? Because I wasn’t, I needed technical work. That was why the company was founded, and it’s one thing when you’re in that world the whole time, it’s still really, really hard. It’s so hard, and you’re so close to it, and you’re producing or you’re directing or you’re performing and you’re fundraising. // It’s too much to ask of people. I realize that people choose to do this all the time, but it’s not good for us to be working that hard, it’s not good for your immune system, it’s not good for your emotional system, not good for us. Sometimes it’s OK, you roll up your sleeves, there are ebbs and flows in life, and I am a big believer. I know how to put in the elbow grease when I have to, but that can’t be your steady state for months at a time. So, that’s part of that sustainability question for the company. (Turandot) 7.4 Concluding Remarks
Participants discussed their planning strategies, which focused on how they related scheduling communications activities to their artistic programming. The governmental grant funding system had advantages and disadvantages with regards to planning. Sometimes participants found they were unable to plan as they wished, as they waited for funding to come through. On the other hand, it was mentioned that the process of applying for grants focused one’s activities, as planning strategies are required as a part of the application process. The theme of limited time and resources, as well as that of the challenges of undertaking multiple roles, also emerged with regards to planning. Another aspect raised was that long-term planning strategies must be adaptive, as the communications landscape is always evolving. Although they experienced challenges, participants enjoyed how planning helped them maintain relationships with their audiences, enabled them to be consistent in their messages, and gave them security and peace of mind.
On a personal level, participants experienced intense benefits and challenges from their heavy workload and commitment. In taking on the role of artistic director many participants had to balance this role with other roles within their boutique opera company, including performing and leading the creative process. The most prominent theme among benefits was that of enjoying the creative process, which fueled participants’ artistic spirit in multi-faceted ways. The common
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theme of limited resources also created personal challenges for participants. Emotional burdens were experienced by participants, as they balanced the limitations of time and money, alongside maintaining their personal relationships. Participants questioned the long-term sustainability of their work, as it required such intense focus and time commitments.
In the following chapter I will examine in more detail the challenges linked to survival of a boutique opera company.
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Chapter 8 Surviving as a Boutique Opera Company
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Surviving as a Boutique Opera Company
I think that, my mantra has always been, ‘keep going.’ Because you can get so bogged down and things happen that will put you in a fetal position and just go ‘Oh my God, I cannot believe I didn’t get that grant, or I can’t believe that person quit!’ you know, or something happens that just paralyzes you. And at that point you just have to say, ‘You take a deep breath and keep going’ and then you realize-, because the next day something amazing happens! Right? Just amazing! And so, it’s not for the faint of heart, which is why people quit left, right, and centre, or they go into something else, which is fine, because as Robbie Robertson of The Band said, ‘It’s a goddam impossible way of life!’ And, you know, you ‘keep going!’ (Rudolfo) 8.1 Introduction
As reviewed in previous chapters, participants were asked a series of questions to enable them to comment on the challenges and benefits of their chosen communication means, which they used when building relationships with different audience groups, stemming from their core audience, specific audiences, and new audiences. Participants were not asked directly about the survival of their boutique opera company. However, throughout the semi-structured interviews they provided comments with regards to this theme. I now explore their views on this in more detail.
8.2 The Answer to the Unasked Question
When participants discussed the survival of their boutique opera company, the themes that emerged ranged from comments on audiences, care of personnel, financial support and operating models. These thoughts were sometimes interwoven together, and this linkage shows how boutique opera companies depend on various factors for their survival. For instance, the most prominent theme which emerged from the interviews was that of linking their choice of production to their audience. This was mentioned by about half of the participants:
Every time I go to these places where we have done work, for me, that place is completely different. I always have that memory of what happened there, and I hope that everyone in the audience goes back there too, and is like ‘Oh, wow! Remember that time when those people in those weird pink and fluorescent outfits, were throwing stuff in the water!’ (Nella)
I feel like it’s a burden to be trying to create opera for the opera audiences when the art form was never made for opera audiences. In its heyday, in the glory of opera, it was made for the general public and what they were interested in, which is why it grew so quickly, why it had as many resources as it did. So, that’s a huge challenge! Because the
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general public is not interested in opera! Even though they could be if they knew what was possible. // What is the desirable experience when you go out to have fun, versus what is a cultural activity? When they come together it’s the best. (Rinuccio)
The thing that’s so cool about opera is that, just from the very beginning it requires so many different artists and people to work together just to get the thing to the performance. And so, I feel it’s just an interesting form of storytelling to begin with. So, if we find the right stories and we are really capitalizing on all the different kinds of storytelling media we have, and inviting new interesting artists in, and not keeping it as a closed art form for classically trained musicians. I think we can [attract new audiences]. (Lauretta)
Some other aspects commented on regard to audiences. A few participants commented on how to adapt to and take care of their audiences, as illustrated by one participant “Sometimes we’ll even do a pay-what-you-can show or a community outreach show.” (Musetta)
Audience-building and creating new music were activities that participants found meaningful, and several sub-themes will now be explored in more detail. A few participants reflected on how they defined their audience, as illustrated below:
We really do have a lot of newcomers to opera and this excites us because we get feedback like ‘Oh, I thought I was watching a play.’ And they were surprised that they were interested in the story, which to us seems so obvious being in opera, but from an outside perspective, they don’t think they are going to be entertained in a narrative way. They think it’s all about the elitism of the art form and ‘Oh, I don’t understand the music or it’s going to be a lady with big vibrato on stage for an hour in one spot, you know, in a language I don’t understand.’ And so, something we pride ourselves on is we have a lot of people giving a chance [to opera]. (Musetta) And so that’s a challenge for us, because that audience also is bigger [classical music audience] and it’s bigger than the new music audience. Also, I think they’re also more philanthropic as well. I think we’re going to get there, as I think it’s a matter of trust. The work that we do, some of it is pretty out there, and some of it’s going to be more approachable. I think it just takes time. // I’m told, and it’s in our reviews as well, that one of the main things of note is that our audiences are people that they don’t recognize. If we’re going to get new audiences then we should make work for them, and not necessarily work for us that has, a little nod to what they want. (Suor Angelica) The previous participant highlights how arts-led programming can be adaptive to the needs of audiences, and in this case, advocates for creating work that is important to both producers/ creators, and to new audiences with tastes that could lie outside of the traditional opera genre.
Defining new music was relevant to one participant, who explained that “We say it’s about high artistry, high quality, but still, who knows what you’re going to hear? I think that’s 133
uncomfortable for a lot of the opera audience.” (Suor Angelica) Another participant told of how they experienced results through their focus on new music, which resulted in an increased subscription base, as shown here:
We’ve had a growing subscription for the last four years, and probably one of the only companies in Canada to have a growing subscription. But it is because of that, we think we have a unique product as well, you know, we’re doing new works in new ways often with a great variety. (Rinuccio)
Production oriented themes were of significance to participants, as they reflected upon co- productions, the use of multi-media and logistics. One participant highlighted the benefits they experienced as a result of their shifting focus towards co-productions, as seen below:
It also allowed us to do co-pros [co-productions] with other organizations. And that allows us to present things without having to do a lot of the marketing or audience building. That takes away a lot of light work. It also however cuts our funding in half, because we have often have to divide it. On the other hand, it means we don’t have to spend nearly as much time on administrative funding or administrative tasks. So, it’s by far a bonus. (Gianni Schicchi) Another participant told of the challenging logistics they faced as a result of their commitment to new and unusual venues:
You have to bring everything you need. So, for the show at [an outdoor location] we managed to do it off-grid with solar powered LED lighting set up, and that requires permissions which is always tedious because you’re dealing with different departments of the city and it is just paperwork and e-mails and you’re like ‘Aaarrgh! Why are we not just indoors?’ Yes, you have to worry about weather and all that stuff. (Nella) How multi-media defined artistic output, and was beneficial in terms of audience development was integral to one participant, as illustrated here:
The multi and interdisciplinary aspect of what we do is actually integral to our outreach. I’ve always called it outreach programming. // Then we get a lot of people, they’re ‘I liked this, I’ve never really listened to new classical music. All I know is the TSO [Toronto Symphony Orchestra] out there, I’m not really interested in that, but I really like this. Maybe I’ll like the opera.’ And they’ll come to the opera. ‘Wow! That is not really what I thought opera was like. Is this opera?’ I have a lot of people say that. ‘Oh, I didn’t realize that this could be opera! I would just go to a club and see this.’ (Suor Angelica)
The role of the opera company was highlighted by one participant. She described their dedication and perseverance with regards to their activities:
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There’s a challenge and because of what we’re doing, I think it’s like a slow burn … it’s harder to sell a new opera than it is to sell a Mozart. It’s a lot harder. So, we have to scale our expectations of how much audience we are to get from one show. And that’s OK … So, as a result we might be able to get grants. But private funding is very difficult because there aren’t many people that really want to fund that. And in a big way, we’re also not a charity … It’s hard enough to get people to want to go to opera. At least with Mozart and the standard repertoire, if you play with it a little bit, but it’s still familiar. There’s a club around that, there’s a whole cult following. But with new opera, it’s not about it being opera. (Suor Angelica) She also explained that trust and honesty were integral to their approach: I think now we’re there, that is building an audience that’s not classical music based. And my thought process with that was: OK, if we focus on people who are not in our industry, really focus on them and still showing them a very honest depiction of what classical music is. We’re not trying to simplify it. We’re showing them pretty challenging music actually, and sometimes in ways that bring it together with other art forms. // I think that in order to truly gain new audiences, and I really do think it takes time and trust, we have to make work that is specifically for them. // I don’t believe in necessarily making work that every person will like. // The type of work that I really think that newer generations want actually, are more stimulating. Trying to challenge audiences. It might frustrate some, but you’re also going to get some people also being excited. (Suor Angelica)
Another participant highlighted the link between founders of arts organizations and practicing artists:
You know there is hardly ever an arts organization that has been founded by a, I don’t know, an accountant, or a doctor of medicine, or lawyer, so and so, you know. So, it is interesting. So, I think that in terms of artistic backgrounds of most organizations, they have been motored by artists in the community. (Marcello)
The significance of providing care for personnel was discussed by a few participants, and their views are expressed here:
We feel very, very firmly, especially at our opera company that it’s the artists who should get the lion’s share of the fees, the overall funding. And they are doing the work … they are learning the difficult music, so we do not spend a lot of money elsewhere, and these things are free and accessible to small groups. (Musetta) Opera is expensive. And I’m really completely committed to making sure that performers, everyone gets paid properly. // On our last project we were able to pay union wages … So, I always want to do that because I really hate devaluing what we do. (Lauretta)
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The challenges posed by business operating models was a theme that participants expressed their concerns about. One participant outlined how many components interlinked to create barriers for success, as illustrated in detail below:
How do I figure out how to bring enough resources into the company to help manage the peaks? Like it’s not putting the burden on three people so heavily, so you can widen that burden, and trust a few more people, and also improve your success, right? When there’s so much pressure on them, then it is a pressure cooker, it’s going to be more frustrating, it’s going to be more exhausting. // It’s really hard for small companies. I have many moments of feeling, ‘How can we fix this system?’ That conversation that I’ve had around the small company model where you put on some shows, and do some press, and it’s hard work, but it’s fun and it’s small, but how do you get from this to a sustainable model? There’s a real chasm there and it’s funding. And it’s capabilities as well. // How do you help a young company bridge the chasm between being a small idea to a sustainable company? Part of that is building audiences. This small company, how do you get more people interested in it? More audiences means more money, more money, means more ability to grow. // I never paid myself from our opera company because we didn’t have the money to pay me. Always paid the singers, always paid the musicians and everyone else, that’s a central part of the company, we don’t do anything, nobody does anything for free. But there’s a certain amount of privilege as well that goes into starting these small companies. Who are these people that cannot work full-time hours and still live in the city of Toronto? Who are the people who have access to these donors? // Is there somebody else who didn’t have access to opera who didn’t have access to putting on … a company like our opera company because they finished school and they had to start working 50 hours a week, because it’s full-time, or two part-time jobs, or whatever it is. (Turandot) A few participants also explained that they were worried about developing a sustainable business model, as illustrated here:
This gets to strategic operational things that we look at in terms of the company, because we are a small company, that is run part-time by people who have full-time jobs, who are not involved in the arts day to day, so it is a particular challenge to get strategic changes done in the company. (Liù) For us, there’s a business strategy, an organizational strategy that we have yet to take action on. That would have to be supplemented by a strong audience acquisition strategy … But if I wanted to build the business into something that was sustainable where we could have at least one full-time employee, and all of these other things that go along, more seats to fill, more money to pay the singers, all of that extreme expense comes with the need for the audience, and how to get your audience spending to get them there, and also once you then have this, you can get more money from the government. It’s kind of this virtuous cycle. (Turandot)
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Another theme that emerged relating to survival was linked to financial support. A few participants discussed how their survival was dependent on grants. One participant explains their point of view below:
It is tough, because you are hoping that you would get sufficient money, government funding, and if it is then allotted, it doesn’t mean that it’s guaranteed, because you have to keep levels of artistic integrity and excellence, you have to keep all the other aspects of the operation going. So, that every year, although it has been approved for three years, on the second year, you have to report, and then they have to measure what that report contains before they can say, ‘OK we can release you what we promised to give you.’ (Marcello) Another participant discussed how they approached relationship-building which involved care for their donors, as explained below:
We also found that without doing things locally people don’t necessarily want to give unless they’re an actual part of it. So, when we did things out of the country, we’re now having to have events [locally] that people can be a part of. That’s the only way we’re able to generate interest and donorship that’s sustainable. // Person to person. And they want to see who or what they are sponsoring. So, there’s no such thing as a selfless act. People want something for what they give. And that’s human nature. (Gianni Schicchi) They also explained how they preferred engaging with donors versus instigating mass marketing campaigns, as they found this personalized approach had more potential for sustainability:
And what we need to do is to build the sustainability in reaching out to our donors instead of the mass marketing. We don’t need to put the big net out. We just need to keep the people we have. Especially now that we’re doing more things locally, which we weren’t doing before. But it’s [been] in our own backyard all along. The more we try and cast out a big net the more futile it seems. Because those strays aren’t going to come so much. It’s going to be the people who are connected to the people who are connected to the people. (Gianni Schicchi) This participant also reflected on how they had evolved from a larger business model to a smaller one, which they found more successful, and involved the management of volunteers over full- time professional staff:
What we’ve had to do lately though, because we’ve had a full-time office person [in the past] and as seed funding is not plentiful at this time, we just use volunteers, and it’s become much easier to do and much more meaningful to do, because we’re on top of all the processes, we know all the people, and it’s sort of like we did things backwards, and we’re having to loop around again. (Gianni Schicchi)
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8.3 Concluding Remarks
The semi-structured interviews did not contain questions that related directly to survival as a boutique opera company, however participants inadvertently brought up many aspects of their work which they felt was important to them, and which linked to this theme.
A prominent theme which emerged from the semi-structured interviews was the importance of creating programming which appealed to their audiences. Participants enjoyed creating meaningful experiences for their audiences and relished the opportunity to share the excitement of opera and its stories, with those who had never experienced it before. Breaking the barriers to opera and dismissing potential negative preconceptions about the genre, by presenting productions and narratives in new and innovative ways, was important to participants. Attracting audiences outside of those who were traditional opera goers was meaningful, as was the need to adapt to new audiences and their tastes, while maintaining the integrity of the art form. Participants used multi-media and interdisciplinary approaches, as well as contemporary narratives and new and unusual venues to keep their work relevant to modern society. Creating new music was important to participants, as this ensured their artistic output aligned with the beliefs of contemporary communities and featured Canadian composers and artists. By creating the music of today, participants are contributing to the repertoire canon of tomorrow.
Keeping an authentic voice in their communications, and sincerity in their approach to operating their boutique opera company was meaningful to participants. They also maintained a positive collegial and community-oriented spirit in their activities. Creating care for their personnel, as well as providing creative paid work for them, were significant enterprises for participants. They were as a result contributing to and maintaining a boutique or independent opera scene in Toronto, by nourishing the ecosystem from within.
Participants faced limited financial and human resources, which made it a challenge to create a sustainable business model for their boutique opera companies. They faced a vicious cycle fed by the need for more time and finances in order to increase audiences, which in turn could lead to increased financial returns, and the ability to increase human resources. Running a boutique opera requires full-time dedication and work, however some participants were maintaining these activities while pursuing portfolio careers, from within or outside of the industry, in order to 138
survive. A cultural capital like Toronto creates the opportunity for boutique opera companies to exist, however urban centres are expensive places to live in and to run businesses. These variables lead to the burdens experienced by participants, and therefore contribute to the challenges of sustaining activities long term.
Setting aside the challenges experienced by participants, in the next chapter I will present both a summary of the overall findings from the field study and links to pertinent aspects found in the literature review. I will also examine possible administrative and audience-building strategies for boutique opera companies.
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Chapter 9 Analysis and Strategies
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Analysis and Strategies
In this chapter I present an analysis of the findings from my field study and link these to literature concepts and other studies from Chapter 2 and 3. I also present possible strategies for boutique opera companies to help them navigate challenges they meet, and continue to engage with new audiences.
9.1 Analysis
In order to explore the varied challenges and benefits linked to communications and audience- building activities for boutique opera companies, I engaged in a field study with the goal of answering the following research questions: (1) How are boutique opera companies with limited operational budgets targeting and communicating with their publics and enabling their audience-building activities? (2) What are their views on the activities engaged in, and ideally what alternatives would they favor?
The twelve participants in the field study presented valuable insights and the findings provide some answers to these questions. The activities I link to the literature often refer to various themes which arose during the interviews with participants. As a result, in most cases, when referring to the issues raised by participants, I will not include their approximate occurrences.
9.1.1 Segmentation Participants were engaging with many sub-groups, or segments, which formed their core audience, specific audiences, and new audiences. Although most of the participants did not identify their audience-building endeavors as being governed by “segmentation” factors, they were nonetheless relying informally on such an approach by considering the needs of their different audience groups. They catered to these needs by taking into account different factors, for instance age, gender, ethnicity, physical handicaps such as visual impairment, and special interest groups such as those engaged in particular hobbies, environmental protection, and social justice. These can be linked to what has been referred to by Kotler and Scheff in the literature review in Section 2.2 as “demographics” and “psychodynamics” as factors within segmentation.
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Communication means and methods were adapted to suit the needs of different audience groups, in effect, putting segmentation into practice.
The literature in Section 2.3 highlighted possible segmentation models for the arts in Canada, using data gathered from the 2010 Hills Strategies report, commissioned by the Canada Council for the Arts, the Ontario Arts Council and Canadian Heritage. This report proposed that attendance at other arts events was a stronger predictor for future attendance than demographics, and this also pertained specifically to classical music. Participants were actively incorporating multidisciplinary approaches to their programming and organizational ethos. They also enjoyed collaborating with artists from different arts disciplines, such as dance, and also different music disciplines, such as music from popular culture and from ethnic origins. Participants felt that collaborations with artists from different art and musical disciplines not only enhanced their creative output, but also broadened their audiences.
9.1.2 Public Relations
A sub-theme which emerged from the general theme on communications with the core audience, and specific audiences, was that of a favored personal approach to relationship-building. Although few participants used external PR personnel, or identified their approach as PR, their relationship-building with their current and potential audiences can be identified as being within the realm of public relations as presented by Cutlip et al in Section 2.4. In these authors’ perspective, PR relates to “maintaining mutually beneficial relationships” between an organization and its publics. The approach used by participants in the current study towards their audiences is similar. Online tools such as e-mail and social media platforms were prominent means employed when communicating with the core audience. However, when participants engaged with specific audiences, they relied more on communicating the stories featured in their programming choices and on external publicity. A variety of means of communication emerged under the theme of communications with new audiences, suggesting that participants were exploring their own unique ways of engaging with this segment. Activities such as workshops and info sessions, which created a participatory aspect, as well as establishing relationships with other non-profit arts organizations through cross-promotions, proved effective with new audiences.
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As discussed in Section 2.4, at the heart of public relations theory is relationship-building, and participants gravitated towards this approach. They favored a personal approach and one-on-one contact, in order to cultivate their relationships with audiences. When considering their approach to engaging with their audiences, participants reflected on the needs of different audience groups, and were mindful of providing personalized care for their audiences.
In Section 2.9 the notion of “authentic voice” was explored as presented by Motion, Heath and Leitch who underlined how important it is for arts organizations to maintain their authentic voice when using public relations intermediaries for contacts with their publics. Participants in the current field study felt the same in communicating with their audiences. They wanted their message to ring true to their artistic endeavor as well as support the vision they had for their boutique opera company. Moreover, their “boutique” nature enabled them the possibility of cultivating personal and one-on-one relationships with their audiences in a way that larger organizations could find challenging.
One of the concepts explored in Section 2.7 was that of an advocate in a social media context, who would actively share their positive feelings about a particular brand, through digital word- of-mouth. Participants were engaging with advocates, who would share information about their boutique opera companies and programming online, as well as in more traditional contexts, such as sharing person to person word-of-mouth, or hanging up posters in relevant locations.
Motion, Heath and Leitch discuss in Section 2.7 how understanding the context of each situation, and the beliefs and motivations of participating individuals, is necessary when communicating. Their comments were aimed at communicating via social media platforms, although they can be applied in other communications situations as well. Participants in the current study took great care in how they were communicating with their audiences and were mindful to anticipate and adapt to the needs of their audiences, and their preferred communications methods. Programming themes explored by participants highlighted social justice issues, and also stories and music that aligned with different ethnic groups. When working with individuals and issues unfamiliar to participants directly, they were mindful of taking the care to involve those groups in the artistic or communications process. Just a few examples of these activities included holding performance salon sessions in relevant locations, ensuring communications were adapted to
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relevant languages, hiring artists who identified with the relevant ethnic or social issues, and building relationships with those groups whose stories were being told.
The direction of information in communications, as theorized in public relations, was explored in Section 2.7, explaining the one-way model associated with propaganda and press-agentry, Grunig and Hunt’s two-way communications model, as well as Motion, Heath and Leitch’s every-way model associated with social media platforms. Participants in the current study were using all of these models in their communications strategies with their audiences. The one-way communications model was used by participants to disseminate information, such as programming, logistical event information, organizational activities and artistic personnel. These one-way communications were shared by, for example, newsletters either via e-mail or post, organizational websites and posters. Stories about the participating boutique opera companies in traditional media, such as radio or newspapers, also use the one-way communications model. Participants held participatory activities such as info sessions, workshops, salon performances, pre-concert talks and personal phone calls, which could all be classified as the best practice exemplified by the two-way communications model. The every-way model evident in some aspects of social media communications was used by participants, as they relied on digital tools such as Facebook and Instagram for communications.
It could be argued though, that the truest form of communication occurred through the art itself, and the “communion” between performers and audiences described in Section 3.2, where “commonly desired interaction” is sought. The performances produced by the participating boutique opera companies were the pinnacles of their communication with their audiences, as those on and off stage experienced the magic of live opera performance.
9.1.3 Digital Tools and Social Media
Section 2.8 explores the 2016 report released by Nordicity for the Canada Council for the Arts, which highlighted how audiences were engaging actively in a digital communications landscape, and how arts organizations were evolving and adapting to this environment. The DORIS report issued in 2019 by Against the Grain, supported by the Canada Council for the Arts, also highlighted how the majority of respondent opera fans were engaging with social media
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platforms on a daily basis, reinforcing the strength of these digital communications tools for boutique opera companies.
Participants in the current study were consistently using social media platforms as communications tools, and especially favored Facebook for its ease of use, extended contacts, visual elements (for photo and video content) and cost-effectiveness. Instagram was favored for the aforementioned reasons, and also particularly for reaching out to younger audiences, and for its focus on visual elements. Also, participants mentioned the positives of Facebook’s analytics resources, and its scheduling options for messaging content.
Although Facebook was a digital tool that participants readily used in their communications activities, some negative elements of the platform were mentioned, such as its changing algorithms and its evolution from a free platform, to one where payments were required in order to maintain relevance on the site. Despite Facebook’s payment options though, it was still favored as being cost-effective when compared to traditional advertising.
The Nordicity report highlighted how arts organizations have to be active across social media platforms and constantly update their communications, while balancing their engagement with their offline audiences. Participants were adapting to the needs of their audiences on and offline, communicating via digital tools, as well as more traditional ones, such as mail-outs, posters and telephone calls. The Nordicity report discussed the challenges arts organizations faced, as their digital activities needed increased human and financial resources, which proved to form barriers for them. Participants in the current study also experienced similar challenges, reflecting on the difficulties of keeping up their social media presence across all platforms, the need to be experts in digital communications, and how time limitations prevented them from performing all the communications and organizational activities they wished to execute. The theme of limited time and financial resources needed for digital operations highlighted by the Nordicity report aligns with similar challenges experienced by participants in the current study.
In Section 2.5.1, the concept of micro-targeting was discussed, identifying it as a digital marketing technique employed by data analytics companies, which can utilize an individual’s behavioral patterns on social media platforms in order to inform advertising messages tailored specifically to them. No participants mentioned using micro-targeting techniques in their 145
communications with regards to social media, perhaps because this is a specialist arena which requires services from data analytics companies, which could go beyond financial limitations. One participant (Rinuccio) did mention the benefits they experienced by using micro-targeting techniques relating to demographics involving location, i. e. where their audiences live. This participant’s boutique opera company had their own in-house ticketing system, which is the mostly likely source of this information.
Of the twelve participants in the current study, only one used their own in-house ticketing system, allowing them access to valuable digital data analytics about their audiences. Not having access to these analytics when using external ticketing systems created a challenge for participants, as this greatly limited the digital data they could access about their audiences.
9.1.4 Subscriptions
In Section 2.12.3, Michael Cooper’s 2018 report in The New York Times outlined how major opera companies in the USA were experiencing a decrease in their subscription ticket packages. In the current study, a few participants referred to their use of subscriptions positively, which contrasts with Cooper’s report. One participant (Marcello) described a “committed” subscription base, while another (Rudolfo) told of how they had a loyal group of subscribers. An additional participant (Rinuccio) reported on how their subscription base was successfully increasing over the past four years. Another participant (Liù) was breaking the boundaries of the typical subscription model, by focusing on bulk ticket offers for productions, and engaging with an active list of subscribers to their boutique opera company’s YouTube channel. It is positive news for boutique opera companies that a few of the participants in the current study were enjoying various benefits to the subscription model, which makes it still a viable option to focus ticket sales on.
9.1.5 Organizational Ethos
In Section 2.5.2, Scheff Bernstein discusses what she calls an arts-centred concept, meaning that organizations operate through their mission and artistic mandate first and foremost, aligning their art to attract the broadest interested audience. This concept opposes that of creating art for the masses and aiming for the largest financial gains possible. With the arts-centred approach the art comes first, and the market for that art comes second. 146
Participants in the current study were using an arts-centred approach to their producing, and were dedicated to both the creative process and the performances of their operatic interpretations, which was central to their activities. Participants were not operating their boutique opera companies in order to attract the largest audiences possible and accumulate large financial gains. However, they were dedicated to nurturing their audience and adapting to their audience’s artistic and personal needs.
The unique approach participants had in responding to their audience’s needs became a dynamic focus from which other aspects of their boutique organizational structure attached themselves. This consideration of audiences and their different tastes and behaviors affected programming choices and activities. There was a focus on creating new and innovative experiences for their audiences, which was important to participants. The need to break free from any negative stereotypes associated with traditional opera as a genre was also of significance to participants, as was presenting stories which aligned with contemporary themes, such as social justice, environmental concerns and women’s rights. They held great passion for opera and their work, and enjoyed sharing their contemporary interpretations with their audiences. Participants considered the needs of their audiences, as well as focused on an arts-centred approach, with both spheres of concerns contributing to organizational ethos.
This approach described above can be linked to what is presented by Angel Quintero Rivera in Section 3.2, where a particular genre is related to breaking down familiar barriers and incorporating new and imaginative ideas in the creation of musical productions, as is the case for the participating boutique opera companies in the current study. However, not only did the participants indicate incorporating new and imaginative ideas for their productions, but this was very much done with their audience in mind. Given their audience and arts-centred approach, these boutique opera companies can be associated with a unique genre, which is musically “alternative” but with a special human dimension.
Although the initial focus of this field study was on communications and audience-building strategies, the semi-structured interview process revealed that these activities were linked to several aspects of programming and operations. Participants reflected on how their engagement activities affected venue choices, multidisciplinary approaches, and creative decisions. Another
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theme which emerged was that of the many challenges experienced because of limited financial and human resources. The passion that participants displayed for their artistry and producing was a 100% commitment, however this engagement level did not align with the resources available to them to enable their activities.
Participants also felt it was important to provide care and opportunities to those working within their organizations, as performers, creators or administrative personnel. This dedication to the personal approach is admirable, as many participants illustrated how they faced limited resources and time. Because of their small organizational model, participants experienced these limitations, sometimes at a very personal level as will be discussed below.
9.1.6 Administrative Needs In Section 2.6, Gregory discusses the need for careful planning from a public relations perspective, which focuses on being proactive and creative, as well as staying within timescales and budgets, while always maintaining a short and long-term organizational viewpoint. Gregory’s emphasis on staying within timescales and budgets shows how in practical terms, planning must be do-able.
Participants in the current study were planning their communications strategies in advance, however due to limited time, it was in some cases a challenge to achieve all desired goals. It must be mentioned that the extended activities that participants engaged in, linked to organizational planning on a whole, were very successful. Participants, due to their artistic background and entrepreneurial spirit, were highly creative and proactive. They followed the planning requirements aligned with governmental grant cycles, and planned and executed all aspects of programming and performances. No participants mentioned that they did not achieve their goals in terms of their creative and performance output. Despite facing budgetary constraints and the associated challenges with regards to resources, no participants mentioned going beyond their proposed budgets or being unable to operate financially. In short, their plans were effective and do-able, although restricted by the need for additional human and financial resources.
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9.1.7 Personal Involvement and Challenges As a result of their full commitment to the work associated with their boutique opera companies, participants experienced personal burdens and found it challenging to maintain the survival of their organizations. Participants reflected on how their work affected their personal, financial and physical health, and on the challenges of undertaking multiple roles within their small companies. Inherent to these reflections, there was a sense of an entrepreneurial and “do-it- yourself” spirit as described by Shank and Frith in Section 3.3. Yet, there was also a sense of a “small is beautiful” aesthetic, also referred to by these authors. Although participants experienced very challenging situations, they also reported experiencing many benefits as a result of their work. They were able to enjoy supporting their artistic community, have control over their creative activities, build relationships with different arts organizations and audiences, and experience and share with others the beauty of their art.
9.1.8 Concluding Remarks for Section 9.1
In the above section, I provided an analysis based on the findings from my field study and the literature I reviewed. Themes explored included:
• use of segmentation; • public relations; • digital tools and social media; • subscriptions; • organizational ethos; • administrative needs; • personal involvement and challenges. The conduct of my semi-structured interviews was aligned with my initial quest, which focused on communications and audience-building strategies. Nonetheless, these questions allowed participants in my field study to expand upon and reflect on many aspects of their creative process, their organizational ethos and personal challenges and successes.
A common thread which carries through these various themes is the attention by participating boutique opera companies to informal and personalized relationships with their current and potential audiences. Their engagement with and response to their audience, not only through contacts but also through their performances, show both an audience and art-focused ethos. Their commitment is to art and audience. In different ways, the participants in the current study
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indicated that their aim is to be creative, to perform and to share their art with others on a personalized level. The result can only be an enhanced experience for the audience, as well as a sense of achievement for the boutique opera companies.
The intense commitment that participants dedicated to their boutique opera companies also resulted in them reflecting on various themes linked to survival. It is those issues raised by participants which now lead me to discuss survival strategies and possibilities for engaging with new audiences.
9.2 Operational Strategies
The survival of boutique opera companies is in part linked to external support. In view of this, I now explore administrative and audience-building strategies which could contribute to their survival.
Some of the strategies for boutique opera companies explored arise from issues raised by participants during the interviews and from a review of other studies. During the interviews, participants mentioned some of these issues a number of times under various themes, while other issues were touched upon only, making it a challenge to quantify the number of times. However, these issues were important to participants and worthy of further exploration. When referring to the issues raised by participants, I will not include their approximate occurrences.
Currently in 2019 there are government grants available for arts organizations in Toronto, through funding organizations such as the Toronto Arts Council1, the Ontario Arts Council2 and the Canada Council for the Arts.3 They all support artistic practice, which can include various programs aimed at operations, project-led schemes, continued learning and audience development. However, I aim to outline in this section some of the aspects in which participants feel they face extra challenges. These challenges can be turned into opportunities for the future, if viable solutions are explored and executed. I will also discuss opportunities for boutique opera
1 Toronto Arts Council, “Music.” 2 Ontario Arts Council, “Compass.” 3 Canada Council for the Arts, “Artistic Catalysts.” 150
companies and their audience-building activities and programming. Some of the strategies explored below relate to segmentation processes, for instance, audience-building activities and programming taking into account ethnicity, interdisciplinary productions, education, and age (strategy recommendations numbers 5, 6, 7, 8, 9). My recommendations support the use of segmentation which is considered by the boutique opera companies in the current study in that they apply it, albeit sometimes informally, in their audience-building endeavors.
9.2.1 Resources for Administration
Representatives of boutique opera companies who participated in the field study highlighted how they were operating with very limited resources in terms of administration. These limitations affected both their human resources and the time that they personally needed to carry out all of their organizational tasks. Additional access to professional arts administrators would greatly benefit boutique opera companies and their operations. Increased finances could contribute to the capability of boutique opera companies to hire administrative personnel. Perhaps a governmental arts administration initiative, on a needs and merit basis, could provide boutique opera companies and other small arts organizations access to arts administration personnel, although on a temporary basis, related to the increased demands incurred around production times. Such a scheme could guarantee that funding is spent directly in this area, and would also align well with the “per show” operational cycles that many of the boutique opera companies employ.
9.2.2 Resources for Enhancing Capabilities
Participants highlighted the need for continued learning and professional development, in response to the demands placed on them by the multiple administrative and business orientated roles they undertook in leadership positions within their own boutique opera companies. These comments align with Dawn Bennett’s research into classical musicians’ careers, which discuss how engaging in formal or informal education, and maintaining current knowledge of business and technological trends, are vital activities that contribute to a long-term career.4 Sophie Hennekam and Dawn Bennett’s research on those working in the creative industries also disclose
4 Bennett, Understanding the Classical Music Profession: The Past, Present and Strategies for the Future, 94. 151
that many find that the need for ongoing training poses a financial challenge, coupled with the difficulties of having to predict which skill set to focus on, due to shifting industry trends.5
Providing resources to those with leadership positions within their boutique opera companies could greatly benefit their success, in present and future organizational operations. Resources relating to public relations, marketing, administration and financial planning would be essential elements that could contribute to organizational success, in the present and long term. Mentorship programs that match leaders of boutique opera companies with those in leadership positions within larger opera companies on national and international levels could provide valuable insights and support. Due to the time limitations experienced by many of those in leadership positions within boutique opera companies, educational initiatives which operate on a temporary basis and are also cost-effective could also provide reinforcement. Conferences for industry leaders within the opera world, which are financially accessible to those with limited finances, could also provide a platform for valuable knowledge exchange.
9.2.3 Reducing Costs for Traditional Media Coverage
The participating boutique opera companies discussed how their limited finances reduced their opportunities for paid advertising coverage in traditional media, such as newspapers and magazines, and the hiring or professional publicists to help develop relationships with these external media outlets. Although provincial funding agencies like the Ontario Arts Council6 and the Canada Council for the Arts7 allow for marketing costs in some of their granting initiatives, perhaps opportunities could be more specific when it comes to advertising in print media and the hiring of publicists. Specific grants based on merit and need for boutique opera companies, which allocate funding specifically for paid advertising in traditional media could guarantee that funding was directed in this manner.
5 Hennekam and Bennett, “Creative Industries Work Across Multiple Contexts: Common Themes and Challenges,” 79-80.
6 Ontario Arts Council, “Home.”
7 Canada Council for the Arts, “Home.” 152
The 2011 WolfBrown report commissioned by the Ontario Arts Council outlined previously in Chapter 2, highlights how radio coverage is a valuable tool for enhancing attendance at live music events. Access to a publicist, even on a very temporary basis in and around production periods, could help boutique opera companies to establish relationships with radio stations, and hopefully enhance their radio coverage in the process. Governmental initiatives for arts organizations, which provide access to temporary professional publicists on a need and merit basis, could ensure that small boutique opera companies, as well as other small arts organizations, have access to professional expertise in publicity during their production cycles.
9.2.4 Livestreaming Performances Online
The 2016/ 2017 Environics reports commissioned by the Canada Council for the Arts and the Department of Canadian Heritage, as well as the 2011 WolfBrown report commissioned by the Ontario Arts Council outlined the importance of livestreaming with regards to audience engagement. The Environics report highlighted that a quarter of Canadians who streamed live performances online claimed that doing so led to their attendance at future events. The WolfBrown report discussed how valuable online engagement was for the under 35 audience, as they were more active with online activities, such as streaming or downloading.
The importance of livestreaming in particular for opera fans was highlighted by the 2019 issued DORIS report by Michael Morreale, commissioned by Against the Grain Theatre, with support from the Canada Council for the Arts. The DORIS report’s findings showed how opera fans were interested in livestreaming performances in the future. Furthermore, livestreaming provided financial incentives, as respondents were prepared to pay to livestream a performance, and that a company’s livestreaming programming would enhance their desire to make donations to that company.
While livestreaming opera productions now forms a major part of the programming for opera houses in the UK, Europe and the USA, unfortunately as of April, 2019 there are no viable options for Canadian opera houses at the national and international level to livestream their
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productions.8 This is due to various reasons, including a shift in priorities at the CBC (Canadian Broadcasting Corporation), which has resulted in limited arts coverage for both its television and radio programming.9 In the case of livestreaming abroad, it is often a host broadcasting corporation similar to the CBC that contributes to the associated costs.10 Another contributing factor is that in 2013 the musicians unions, the CBC and the Canadian Opera Company failed to reach an agreement on recording fees, and the negotiations were abandoned.11 These failed negotiations occurred within a similar timeframe to the shift in CBC priorities, which compounded the challenges of getting Canadian opera livestreamed.12
These challenges with livestreaming Canadian opera are unfortunate, as doing so would provide great benefits with regards to audience engagement. For boutique opera companies, livestreaming their productions and events would enhance audience exposure. In the current context of April, 2019, only if all members of personnel involved in a boutique opera company’s production are not members of artists’ unions, would livestreaming be permissible. As this is an unlikely scenario, the current policies in place prove to be a barrier. Livestreaming options can be executed on limited budgets, for example on a livefeed through social media platforms such as Facebook and YouTube. However, until the barriers are removed, this mode of audience engagement is not viable in Canada.
9.2.5 Breaking Location Barriers, Participation and Co-creation for Indigenous Stories Told through Opera
The Environics 2016/ 2017 report mentioned above highlighted an opportunity for bridging audience-building initiatives with those identifying as indigenous. The report discussed how
8 Lydia Perović, “Live-streaming: Why are Canadian Opera Productions Missing from the Worldwide Phenomenon?,” Opera Canada, September 28, 2018.
9 Ibid.
10 Ibid.
11 Ibid. 12 Ibid. 154
those identifying as indigenous were interested in participatory activities, and also held positive views about the linkage between the arts world and enhanced community, economic growth and Canadian identity. Those identifying as indigenous enjoy streaming live arts events in languages other than French and English, which could align well with the operatic genre, where stories are often told in different languages. This connection between an interest in the arts, and specifically foreign languages, could provide a positive entry point for audience-building activities. Livestreaming could resolve issues relating to limited access to live events, which is reinforced by the Environics report that highlights how those identifying as indigenous in many cases do not live in urban environments, which creates a barrier in terms of direct access to arts events.
Are there ways in which boutique opera companies can remove the access barriers for those identifying as indigenous? Livestreaming events (currently not permissible for opera in Canada)13 combined with initiated dialogue with those identifying as indigenous, in order to enhance awareness of programming, could provide an opportunity. Creating programming that could be toured, with a focus on communities where those identifying as indigenous live could provide positive engagement, as could initiatives which provide travel for those identifying as indigenous to Toronto and other urban centres, in order to experience live opera events. Community engagement operatic programming with a participatory aspect could also provide a positive entry point for reaching out to this audience.
The Environics report highlighted that those identifying as indigenous held high regard for how the arts represented feelings associated with Canadian identity. Participants in the current field study discussed how they focused on producing works by Canadian living composers, and enjoyed featuring local Canadian performers. Perhaps presenting this aspect of programming in communications strategies could provide an entry point for those identifying as indigenous and boutique opera companies, as this ethos could resonate well for both parties.
According to the Environics report, those identifying as indigenous enjoyed participatory events when they engaged with the arts. Participants in the current field study discussed how they used
13 Ibid. 155
participatory activities such as info sessions or workshops in their programming, which could provide an opportunity for engaging with those identifying as indigenous. Furthermore, co- creation activities between boutique opera companies and those identifying as indigenous could provide opportunities for creative programming and enhance the ownership of artistic output.
Telling the stories of those identifying as indigenous through the operatic genre has been explored by Canadian opera companies at a local level in Toronto, and also on the national level. For example, Voice Box: Opera in Concert during their 2017/ 2018 season premiered in Toronto The Ecstasy of Rita Joe by Victor Davies, based on George Ryga’s 1967 play which explored the Indigenous experience.14 Tapestry Opera in Toronto,15 in a co-production with Opera on the
Avalon in St. John’s, Newfoundland,16 premiered Shanawdithit in May 2019 in Toronto, with further performances in St. John’s in June 2019. Shanawdithit by Newfoundland born composer Dean Burry, tells the story of the Beothuk, and features Indigenous artists from across Canada who will collaboratively interpret and perform the opera.17 Indigenous themes and performers in opera create a bridge to those identifying as indigenous. Creating more operatic programming which focuses on Indigenous themes and performers in the future will continue to foster engagement. There is an opportunity to explore some of the solutions previously mentioned, with regards to removing access barriers between live opera performances and communities of those identifying as indigenous, and programming participatory and co-creation activities. This could build relationships for the future, therefore enhancing their engagement with opera based on Indigenous themes, as well as with other operatic programming.
9.2.6 Initiatives to Connect Newcomers to Canada with Opera
The 2016/ 2017 Environics report provided valuable insights into opportunities for audience- building activities which focus on newcomers to Canada. Environics discussed how newcomers
14 Voice Box: Opera in Concert, “The Ecstasy of Rita Joe.”
15 Tapestry Opera, “Shanawdithit.”
16 Opera on the Avalon, “Main Season Productions.”
17 Tapestry Opera, “Shanawdithit.” 156
enjoyed a variety of arts disciplines, and the genre with the highest attendance levels was music. The interest newcomers show in music, combined with their enjoyment of a variety of arts disciplines, make them a valuable segment for boutique opera companies to engage with. Many boutique opera companies include a multidisciplinary aspect to their ethos and programming, which could appeal to newcomers. Furthermore, opera is a classical music genre, which could also enhance its appeal to newcomers.
Participants in the current study discussed how their programming and ethos was centred on presenting new works by living Canadian composers. Communicating that Canadian music and performers are often a priority for boutique opera companies in Toronto could be a way of providing a point of contact for newcomers who wish to participate in, and explore cultural activities specific to their new home. The same concept could be applied to other urban settings, when programming has a localized theme or featured performers.
Although participants were focusing some of their programming on diverse groups within Toronto, none of the boutique opera companies who participated in the current study mentioned audience-building and programming initiatives aimed specifically at newcomers to Canada. However, creating bridges between boutique opera companies and newcomers could provide valuable benefits for all parties. In 2019 there is funding available through governmental schemes, for example the Toronto Art Council’s “Newcomer and Refugee Arts Engagement” grant.18 Exploring these funding options could provide support for boutique opera companies to establish relationships with newcomers. Reaching out to newcomers could create an opportunity for boutique opera companies and their audience-building activities and programming.
Further government initiatives could create opportunities to initiate relationships between newcomers and specifically boutique opera companies, such as ticket schemes and acting as an introductory conduit. Since many boutique opera companies have a grass roots approach to audience development, strategies to discover who the newcomers are in localities within the urban environment relevant to a particular company could provide valuable data. Further
18 Toronto Arts Council, “Newcomer and Refugee Arts Engagement.” 157
planning and implementation could involve engagement events aimed at those newcomers, performed in the specific urban localities relating to the boutique opera company. Exploring themes which align with programming for those newcomers could also create a bridge between them and boutique opera companies. Social media initiatives could also be explored, which focus on establishing a dialogue between boutique opera companies and newcomers.
9.2.7 Highlighting the Interdisciplinary
The Hill Strategies research issued in 2012, co-commissioned by the Canada Council for the Ars, the Ontario Arts Council and Canadian Heritage, highlighted findings that support an interdisciplinary approach for the arts. The report discussed how an arts-interested public, who curated their own cultural experience along a variety of different arts disciplines, could be a stronger prediction of future engagement in the arts than demographics. With regards to classical music attendance, the report also observed that the strongest predictor was attendance at an art gallery, with the second strongest predictor being attendance at a culture and heritage performance.
The interdisciplinary approach resonates well with the participants in the current study. They discussed how they enjoyed featuring different arts disciplines in their programming and ethos, and thrived on the cross-pollination effect of creating opera which incorporated other art forms. In terms of audience-building initiatives, participants discussed how, as a result of their creative programming, their partnerships with artists from other arts disciplines mingled to create an increase in audience engagement. The expansion in audience engagement was produced by exposure to the new audiences whom specific artists outside the classical music and operatic genre had cultivated, as well as the new audiences who were generally attracted to arts forms outside of opera. Continuing to explore ways in which boutique opera companies can establish creative partnerships with artists from other disciplines, as well as feature interdisciplinary programming will provide benefits for future audience engagement activities.
Participants in the current field study discussed the benefits of establishing partnerships with other arts organizations, in terms of expanding their audience. Examples of these partnerships included the sharing of patron contact information, providing space for print media/ flyers in brochures, and performing in new and unusual venues. The strong predictors outlined by the Hill 158
Strategies report could provide valuable guidance as to which arts disciplines to establish relationships with, such as art galleries and culture and heritage organizations.
9.2.8 University Education
The 2016/ 2017 report issued by Environics mentioned above, highlighted the influence that a university education has on arts engagement and attendance. The Environics report highlighted that having a university education led to increased participation in the arts and an enhanced perception of its value in society.
The link between a university education and arts engagement, and specifically classical music, could provide an opportunity for boutique opera companies in urban settings. Establishing relationships with local universities, and their faculty and students, could lead to enhanced engagement and participation. Toronto, for example, is home to four universities, including the University of Toronto, York University, Ryerson University and OCAD University, which provides a wide variety of university-based communities to reach out to.19
9.2.9 Young Audience
Participants in the current field study explained that some of their primary audience segments were young people, which provides an opportunity to continue to engage with this group. The 2016/ 2017 Environics report concurred that those aged 16-24 showed high levels of arts participation, and specifically so for music events. They also believed that the arts provided a way of bringing people of diverse backgrounds together. Boutique opera companies could feature how their programming and ethos is aimed at a diverse urban setting, which could appeal to this young audience.
The report commissioned by the Wallace Foundation and issued in 2017 on the challenges arts organizations face engaging with the millennial audience, those aged 18-34, provides opportunities for boutique opera companies. Participants in the current study discussed how keeping ticket prices accessible was a priority, which could be featured in communications, as
19 Government of Ontario, “Ontario Universities.” 159
the biggest barrier that millennials cited was cost. Participants focused on social media and e- mail newsletters as their main and favored means of communications, which aligns with the millennial audience, who prefer this medium over traditional channels such as newspapers or radio. This preference is a benefit for boutique opera companies, as social media and e-mail newsletters are cost-effective and efficient, as opposed to traditional forms of advertising in newspapers and magazines, which can be costly.
The Wallace Foundation report also highlighted how millennials were concerned that they would not relate to other audience members or fit in with the scene at arts events. The participants in the current study prioritized featuring young and upcoming artists in their programming and ethos. This focus on young personnel could provide a point of alignment between the millennial audience and boutique opera companies, and it would be beneficial to give prominence to this message when communicating with this segment. The Wallace Foundation report also explained how the millennial audience was attracted to experience-led activities that cultivated emotional and extrinsic feelings, which was also important to participants in the current study. A strong commitment to social justice, environmental concerns and women’s rights was also meaningful to participants in the current study. These ideals provide an opportunity for boutique opera companies to communicate those core values to the millennial audience, who could be attracted to taking part in this type of experience. Performing in new and unusual venues, as well as creating a modern operatic experience, was promoted by participants in the current study. This ethos could also align well with the millennial audience, and it could be beneficial to feature it in communications strategies aimed at this group.
9.3 Concluding Remarks
Guided by the findings provided by the current study on boutique opera companies and their communications and audience-building activities, as well as the literature reviewed on the subject, I have suggested some possibilities for the future focusing on administrative and audience-building activities. The various possibilities explored are necessary, since the survival of boutique opera companies is complex and linked to multiple factors, which was a theme explored by the participants themselves in the previous Chapter 8 (Surviving as a Boutique Opera Company).
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Chapter 10 Conclusion
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Conclusion
I embarked on my research study in order to investigate my initial quest, which was through a narrow angle of analysis in examining segmentation as a means for audience-building strategies for boutique opera companies. My quest developed from my own interest and curiosity as a performing opera singer, a voice teacher and an academic researcher.
I began my exploration by conducting a literature review. I examined previous studies in the field of public relations, segmentation models for the arts, arts marketing, opera audiences and audience engagement factors pertaining to my chosen location for the study, Toronto, Canada.
The findings that emerged from my semi-structured interviews with the participating representatives from the chosen boutique opera companies went far beyond what I had originally initiated. Although their communications and audience-building activities were a focal point in my interview, this theme allowed participants to expand upon a rich variety of their creative and organizational processes.
A vibrant and textured picture of the dynamics which inhabit the world of boutique opera companies emerged in the findings. All roads led to their art, and participants shared their passion, dedication and creativity which nourished their programming choices, productions and related performance activities. Relationships were also central to these opera dynamics. Participants reflected on the nature of the relationships they nurtured with others, such as other arts organizations, other boutique opera companies, and opera training programs; with artists from other arts and music disciplines, ethnic and social justice groups; their artistic and administrative personnel; and with their audiences. A sense of newness also contributed to these dynamics, as participants explored new and unusual venues to showcase their art, highlighted multidisciplinary approaches and broke the boundaries of traditional opera. All of these elements of opera dynamics created a sense of cross-pollination, vitality and vibrancy in this unique boutique opera scene.
Participants also provided valuable insights into the organizational and personal challenges they met through the activities linked to their boutique opera companies. Their insights reflected their
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entrepreneurial spirit and provided the opportunity to expand upon their survival strategies, for both boutique opera companies and for the individuals who keep them going.
The current field study being based on a small sample has limitations in terms of extrapolation to a larger population of participants who run boutique opera companies, and the companies themselves. However, most of the participants had extended experience in the opera world, undertaking multiple roles within the industry and in particular within the world of boutique opera companies. These participants represent a good majority of the boutique opera companies operating in Toronto (as indicated in Section 1.2.3, three-quarters of the sixteen identified boutique opera companies in Toronto participated in the current study). Their views and recollected experience can help understand the challenges and benefits linked to their companies’ communications and audience-building activities and their general functioning which can be similar to those of other boutique opera companies in Canada.
As was mentioned in the Introduction to this thesis, research studies on public relations and the use of segmentation in building opera audiences could not be located. The current research study is therefore exploratory in nature and attempted to shed light on the dynamics surrounding boutique opera companies in reaching out to their audiences with the possible use of segmentation. Although a number of themes emerged through the semi-structured interviews, some aspects related to audience-building could have been explored further. In particular, the choice of productions in view of audience-building endeavors could have been further explored and identification of which segmentation factors would be favored. Another aspect to further investigate is linked to the relationships formed between boutique opera companies and other arts organizations with whom they collaborate, and how this leads their audience-building strategies.
I hope that my research can contribute to the field of socio-musical studies by providing rich and textured findings regarding the life of boutique opera companies as voiced by their representatives. I also hope my study provides strategies for the public relations and audience- building activities of boutique opera companies with limited financial means in Toronto, and in similar urban, and possibly in smaller, centres across Canada.
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The findings on strategies could be incorporated in a handbook of applicable communications methods and means, and include insights on strategies for audience-building activities aimed at Canadian boutique opera companies. I hope that the findings from my research can contribute to the knowledge of Canadian musicians, by eventually being incorporated into a university level course aimed at students taking graduate and post-graduate level performance degrees. The course would be tailored towards providing students with the necessary training for operating their own boutique arts organizations in the music field.
Similarly to the dynamics surrounding musical groups and musicians as presented in the popular music studies, participants and their boutique opera companies in the current study contribute to the music scenes in Toronto with their alternative creative artistry and entrepreneurial spirit. Their work breaks through the boundaries and preconceptions of traditional opera, and expands opera audiences by attracting those new to the genre, as well as nurturing opera fans who wish to experience it in innovative ways. Participants are enriching the canon of Canadian opera repertoire by producing and supporting works by Canadian composers and librettists. They also nourish an ethos of artistic cross-pollination with their interdisciplinary approach to programming. Emerging opera performers and creators are given platforms to showcase their work, and to enjoy the benefits of professional experiences, through the productions brought to life by boutique opera companies in Toronto. By building bridges between opera and audiences, and through their communications and innovative programming, these boutique opera companies are creating opera for the present and future, as without an audience there is no stage.
WORD COUNT: 54 073
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Tables
Boutique Opera Companies’ Background
Table 1: Years of Operation
Years of operation Number of opera companies %
Less than a year 0 0%
1 – 5 years 2 17%
6 – 10 years 7 58%
11 – 15 years 0 0%
16 – 20 years 1 8%
21 – 30 years 0 0%
More than 30 years 2 17%
TOTAL 12 100 %
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Table 2: Yearly Operating Budget
Yearly operating budget Number of opera companies %
Less than $25,000 5 41%
$25,000 – $49,999 2 17%
$50,000 – $99,999 2 17%
$100,000 – $499,999 2 17%
$500,000 – $799,999 0 0%
$800,000 – $999,999 1 8%
$1,000,000 and more 0 0%
TOTAL 12 100%
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Table 3: Full-time and part-time Administrative Staff
Number of Staff (Full-time Number of opera companies % & Part-time)
None 6 50% 1 – 5 5 42% 6 – 10 1 8% 11 – 15 0 0% More than 15 0 0%
TOTAL 12 100%
Table 4: Volunteers Working as Administrative Staff
Number of volunteers Number of opera companies % as administrative staff None 4 33% 1 – 5 8 67% 6 – 10 0 0% 11 – 15 0 0% More than 15 0 0%
TOTAL 12 100%
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Table 5: Productions Scheduled per Season
Number of productions Number of opera companies % per season 1 5 42% 2 – 3 4 33% 4 – 5 3 25% More than 5 0 0%
TOTAL 12 100%
Table 6: Average Number of Performances per Production
Average number of Number of opera companies % performances per production
1 4 33% 2 – 5 6 50% 6 – 10 0 0% More than 10 2 17%
TOTAL 12 100%
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Table 7: Types of Ticketing Systems Used
Ticketing system Number of opera companies %
In-house ticketing system 1 8% In-house ticketing system provided by venue 3 25% External online ticketing system 8 67% Ticketing system provided by co-partnership or co-presenter 1 8% Door sales/ cash or credit 2 17% Non-ticketed events 1 8%
TOTAL N/A N/A
* Each opera companies could list several ticketing systems: the TOTAL would exceed 12 or 100% Table 8: Particular Role(s) for the Founder/ Founders of a Boutique Opera Company
Number of % Number % opera of opera companies companies
Particular Yes 11 92% Same Yes 8 73% role for role still founder of operating opera No 3 27% company
No 1 8%
TOTAL 12 100% 11 100% 183
Table 9: Types of Role(s) Originally assigned to the Founder/ Founders, of a Boutique Opera Company Original role for founder of opera company Number of opera % (*)
companies (*) Artistic Director 14 127% Performer 7 64% Music Director/ Conductor 4 36% Stage Director 11 100% Composer 1 9% Administration 3 27%
TOTAL N/A N/A
* Each opera company could list several roles and several founders, 11 reported: the TOTAL would exceed 11 or 100%
Table 10: Types of Non-profit Registration
Non-profit registration Number of opera companies %
As corporation with Ontario or Canada Yes 8 67%
No 4 33% As charity with Canada Yes 5 42%
No 7 58%
TOTAL 12 100%
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Table 11: If Not Registered as Non-profit Corporation or Charity - Type of Business Model
Not registered as non-profit Number of opera companies % corporation or charity with Ontario or Canada
Operation on a non-profit business model Yes 4 100%
No 0 0% TOTAL 4 100%
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Appendices
Appendix 1: First Contact E-mail
Dear xxx,
I am in the process of conducting a research study as part of my Doctorate of Musical Arts in Voice Performance under the supervision of Professor Darryl Edwards, at the University of Toronto’s Faculty of Music. I am interested in how an individual like yourself, who is operating a successful boutique opera company in Toronto, is targeting and engaging with your audience, from a public relations perspective. I hope 12 Toronto based opera companies will respond to a short pre- interview questionnaire which should take no more than 10 minutes to complete, and a face-to- face interview of no longer than 60 minutes in duration. This research study is approved by the University of Toronto Human Research Ethics Program (ID no. 35183).
I am also a professional opera singer, performing internationally with leading opera houses in the UK, Asia and Europe. Furthermore, I trained at the Chartered Institute of Public Relations in London, UK, and received a Diploma in Public Relations in 2013. My interest in both fields has fuelled my choice for this research study.
Information provided by participants will be held in the strictest confidence, and the report prepared as a result of the research will contain only anonymized data with the use of codes and/or pseudonyms. Please see the attached Information Sheet for details, including contact information. If you are interested in participating in this research study, please e-mail me to this effect. I would then send you the pre-interview questionnaire electronically, a series of themes to be covered in the interview, and a Consent Form. I would also proceed to arrange a time that is convenient for you to conduct the face-to-face interview. If you have any questions about the research study please telephone or e-mail me, my supervisor or the Human Research Ethics Program at the University of Toronto.
I hope you will find the time to provide your very valuable insights on this subject. Your contribution will help to better understand how boutique non-profit opera companies are targeting and engaging with their publics.
Warmest wishes,
Christina Haldane DMA, Year 3 Faculty of Music University of Toronto 80 Queens Park, Toronto Ontario M5S 2C5
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Appendix 2: Information Sheet
Information Sheet Segmentation Models for Arts Public Relations: Finding an Audience for Opera
This Information Sheet is provided for you to keep.
Title of Project: Segmentation Models for Arts Public Relations: Finding an Audience for Opera.
This study has been approved by the Human Research Ethics Program of the University of Toronto (ID Number: 35183).
Name: Christina Haldane, DMA Year 3. Work Address: Faculty of Music, University of Toronto, 80 Queens Park, Toronto, ON, M5S 2C5. Contact Details: Christina Haldane: [email protected]; 416-274-4277. Professor Daryl Edwards: [email protected]; 647-272-6232. Human Research Ethics Program: [email protected]; 416-946-3273.
We would like to invite you to participate in this research study which forms part of a Doctorate of Musical Arts in Voice Performance.
Details of Research Study: The purpose of this research study is to investigate how boutique non-profit opera companies in Toronto target and engage with their audiences, from a public relations perspective. In particular I’m investigating whether segmentation, a technique frequently used in arts marketing to categorize members of the public according to common traits, could have benefits when applied to public relations practice. I’m interested in your views on the activities engaged in, and ideally, what alternatives you would favor. My research could contribute to the field by documenting challenges as well as successful strategies for the public relations of boutique non-profit opera companies in Toronto, with possible application to other Canadian boutique opera companies. It is hoped that approximately 12 Toronto boutique opera companies will participate in this study.
If you agree to take part in this research study: ● I will arrange to interview you at your office or another convenient location for about an hour, at a time of your convenience during the months of November 2017 to February 2018. The interview will be recorded. Prior to the interview, I will send you an e-mail with a list of themes as a basis for the interview, and a link to complete a short questionnaire on demographic details about your organization. Submission of the completed online questionnaire implies consent to participate in that questionnaire. Only my supervisor and I will have access to the demographic data from the online questionnaire. ● I will arrange with a typist for the recorded interviews to be transcribed (written up), based on an agreement that the material is kept confidential. My supervisor and I will also have access to the recordings of the interviews and their transcripts. Paper copies of the completed questionnaire, and recordings with their transcripts will be kept in a secure place for a maximum of five years and then destroyed. ● In the spring of 2019, I will send you an electronic copy of the report presenting the findings of this research study. ● You may withdraw your data from the research at any time up until it is transcribed at the end of February 2018 for use in the final report. ● If you decide to take part you will be given this Information Sheet to keep and be asked to sign a Consent Form.
Please discuss the information above with others if you wish, or ask us or the Human Research Ethics Program, if there is anything that is not clear or if you would like more information. It is up to you to decide whether to take part or not; choosing not to take part will not disadvantage you in any way. If you do decide to take part you are still free to withdraw at any time and without giving a reason.
All identifiable electronic information outside of a secure server environment would be encrypted, consistent with the University of Toronto’s data security and encryption standards available at:
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Appendix 3: Informed Consent Form
Informed Consent Form - Organization Representative Segmentation Models for Arts Public Relations: Finding an Audience for Opera
Please complete this form after you have read the Information Sheet and/or listened to an explanation about the research study.
Title of Project: Segmentation Models for Arts Public Relations: Finding an Audience for Opera.
This study has been approved by the Human Research Ethics Program of the University of Toronto (ID Number: 35183).
Thank you for your interest in taking part in this research study. Before you agree to take part, the person organizing the research must explain the project to you. If you have any questions arising from the Information Sheet or explanation already given to you, please ask the researcher before you decide whether to join in. You will be provided with a copy of this Consent Form to keep and refer to at any time.
The research study you are participating in may be reviewed for quality assurance to make sure that the required laws and guidelines are followed. If chosen (a) representative(s) of the Human Research Ethics Program (HREP) may access study-related data and/or consent materials as part of the review. All information accessed by the HREP will be upheld to the same level of confidentiality that has been stated by the research team.
Participant’s Statement
• I have read the notes written above and the Information Sheet, and understand what the research involves. • I have authority or have obtained permission to represent my organization in this research, and have provided the researcher with the required Permission and Consent Form where necessary. • I understand that if I decide at any time before my data is transcribed by the end of November 2018 that I no longer wish to take part in this research, I can notify the researcher involved and withdraw immediately. • I understand that my submission of the online questionnaire implies consent to participate in that questionnaire and for this material to be used as part of the research. • I understand that the interview with me will be recorded and I consent to use of this material as part of the research. • I consent to the processing of my personal information, and demographic data about my organization for the purposes of this research. • I understand that such information will be treated as strictly confidential and handled in accordance with the University of Toronto’s data security and encryption standards available at:
Name (printed): Position (printed): Organization (printed):
Signed: Date:
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Appendix 4: Organizational Data Questionnaire
For Boutique Opera Companies Participating in the 2018 Study on “Finding an Audience for Opera” Title of Study:
Segmentation Models for Arts Public Relations - Finding an Audience for Opera Approved by the University of Toronto SSHE Research Ethics Board (Reference Number: 35183)
Name: Christina R. Haldane, DMA Candidate, Faculty of Music, University of Toronto.
Submission of the completed online questionnaire implies consent to participate in it.
Thank you for answering this questionnaire (10 questions - about 10 minutes to complete)
Please answer questions based on your last two years of operation (2015-2017). (indicate your choice by using “X” in the multiple-choice questions)
1. How many years have you been in operation? Less than a year 1 – 5 years 6 – 10 years 11 – 15 years 16 – 20 years 21 – 30 years More than 30 years
2. What is your yearly operating budget? Less than $25,000 $25,000 – $49,999 $50,000 – $99,999 $100,000 – $499,999 $500,000 – $799,999 $800,000 – $999,999 $1,000,000 and more
3. How many administrative staff do you employ, on both a full and a part-time basis? None 1 – 5 6 – 10 11 – 15 More than 15
4. How many of your administrative staff work as volunteers? None 1 – 5 6 – 10 11 – 15 More than 15
5. How many productions do you schedule per season? 1 2 – 3 189
4 – 5 More than 5
6. On average, how many performances do you schedule per production? 1 2 – 5 6 – 10 More than 10
7. What kind of ticketing system do you use? Describe in 1 – 2 sentences.
8. Did the person who founded your company originally have a particular role in the company? Yes No
9. If you answered YES to question 8: Describe this role (1 – 2 sentences).
10. If you answered YES to question 8: Is the person still doing this role? Yes No
…………………………………………………………..
Additional questions were devised and sent to participants via email after the use of the Organizational Data Questionnaire in Monkey Survey. These questions aimed to check the companies’ registration and charity status, and business model identified with, as listed below.
Subject: Extra Questions for study on “Finding an Audience for Opera”
I wish to obtain additional information about the operation of your opera company within a non-profit business model.
Instructions: please copy/paste the following questions in your return email and use “X” to indicate your responses:
1. Is your opera company registered as a non-profit corporation or in the process of being registered with the government of Ontario or Canada? Yes ____ No _____
2. Is your opera company registered as a charity for tax purposes or in the process of being registered with the government of Canada? Yes ____ No _____
3. If you answered “No” to the above questions, does your opera company nonetheless operate under a non-profit business model? Yes ____ No _____
Thank you! 190
Appendix 5: Guide for Semi-Structured Interviews
This interview is to document your views on:
(1) means of communication used to reach your audiences and your views on these; (2) ideal means of communication which could be used; and (3) your overall perspective on your company.
Please provide information based on your company’s activities in the last 2 years
1. According to you, do you have a core audience? 1.1 If so, can you describe who they are?
2. Do you communicate with your core audience? 2.1 What are your means of communication?
2.2 What are the challenges you meet?
2.3 Are there particular means of communication which work well?
2.4 What are the benefits in choosing those means of communication?
2.5 Ideally which means of communication would you favor?
3 Do you communicate with specific audiences aside from your core audience? 3.1 If so, who are these specific audiences?
3.2 How do you select them?
3.3 What are your means of communication with them?
3.4 What are the challenges you meet?
3.5 Are there particular means of communication which work well?
3.6 What are the benefits in choosing those means of communication?
3.7 Ideally which means of communication would you favor?
4 Do you try to attract new audiences?
191
4.1 Who would they be?
4.2 What are your means of communication with them?
4.3 What are the challenges you meet?
4.4 Are there particular means of communication which work well?
4.5 What are the benefits in choosing those means of communication?
4.6 Ideally which means of communication would you favor?
5 Do you plan your means of communication ahead of releasing your season’s program? 5.1 How many seasons in advance do you plan your means of communication?
5.2 What are the challenges involved in this planning?
5.3 What are the benefits?
6 In a few sentences, how would you describe: 6.1 your company’s goals OR your mission statement?
6.2 the image or brand your company wants to project?
7 Do you find there are challenges and/or benefits at a personal level in reaching out to audiences?
8 Are there any further comments you would like to add, based on your experience?
192
Appendix 6: Sample of a Coding Report from NVivo
Question 1.1 Core – who? (Theme)
If so, can you describe who they are? (question from semi-structured interviews with the non-profit boutique opera companies: identification of their core audience)
Already in Arts.Music.Opera: 4/5 (4 = number of participants; 5 = number of comments)
Reference 1 - 0.92% Coverage the third segment is just the arts community at large. So, in Toronto, at least this is not true nationally, but in Toronto, I think that most musicians know who we are at this point, most opera people. So, the sort of various artists and companies [are the third segment].
Reference 1 - 0.77% Coverage
And then the other side is the kind of world of-, it’s kind of chunk of people that are already in the arts. So, people that are emerging artists or have recently been emerging artists would like to be involved in MYOpera [our opera company] or connected with emerging artists, kind of care about them, but that younger generation
Reference 1 - 0.61% Coverage
And so our audience in Toronto for our productions is made up of people within the industry here, students and young singers and more professionals in the industry.
Reference 1 - 1.09% Coverage
Also the type of artists that we work with. We really work with a lot of art forms and artists that are part of those communities already, those demographics. And I personally, just my own interest, I have a lot of interests socially. I’m involved with the electronic music scene and there’s a lot of overlap with that as well, which has a bit of a younger demographic as well but also a diverse one.
Reference 2 - 2.46% Coverage one of the main qualifications or the main descriptor of our audience, because they do come from different areas, is that they come for, they have high artistic minds. They’re curious and they probably may have developed an interest for Fawn [our opera company] because of another art form that we work with. So our audience, to the core, may not be integrated or even had much exposure to classical music or new classical music but they are patrons of other art forms. So that’s really who our audience is, it’s just people who are interested in the arts. Usually more it’s the contemporary, like contemporary dance, film, avant-garde film, visual art. It’s the type of people, the same for electronic music and I’m not talking about like Skrillex EDM (Electronic Dance Music). More the people that are interested in ricocheting art forms. Those are the types of people who I find comes back to our shows.
193
……………………….
Donors: 1/1
Reference 1 - 0.30% Coverage
We also have a larger core audience of donors
…………………………….
InterestTheatre.Opera: 1/1
Reference 1 - 1.04% Coverage
The core audience is a mixture of people who’ve been coming to the company for over 10 years, who come from a number of backgrounds but I would say currently our core consists of about a third opera goers, a third theatre goers: primarily theatre goers, primarily opera goers, and a third, general public mixed
………………………………….
Older-Non-Standard Repertoire: 3/4
Reference 1 - 2.16% Coverage another one is people who are opera fans already, generally a little bit older demographic, they might be people that know some of our singers from, you know, opera school, hard core donors and opera fans in Toronto and those people who are giving new music a chance, so these people, we sometimes call them ‘sceptics’ because they aren’t necessarily a fan of contemporary music because they are worried it will be difficult to listen to. But again they give us a chance because the cycling [name of activity related to opera company] is sort of whimsical and fun, and so they think, ‘This will probably be a fun evening even if it is difficult’
Reference 1 - 1.17% Coverage
We have one core audience that we see regularly in a series of house concerts we do three times a year: in September, February and May. And they are usually well-off retirees.
Reference 1 - 0.88% Coverage
Well, since the company has been around for 40 odd years, the audience is mainly ‘dare devils’ that want to come to hear and listen to non-standard repertoire. And so, the core audience, generally is, the demographics are older people, probably in their 60s to 70s, and they have been there for a long, long time. Absolutely a long time
194
Reference 2 - 1.03% Coverage so if we’re looking at our audience, the demographic is mature and they are interested in listening to new -. They love opera and I’m sure all of them go to the Canadian Opera Company, and the bigger productions and travel, travel to New York, or Washington, or Chicago which has a phenomenal opera company there, or Europe. But they’re also interested in other repertoire than just the standard.
……………………………………
Special interest: 4/4
Reference 1 - 1.38% Coverage
So, I would say that our audience is a part young people who are brand new audience for opera. So, people who are attracted to bicycle [name of opera company] opera because of either the cycling [name of activity related to opera company] community which I kind of lump into the DIY community, and also, you know, into the environmental activist community – that sort of crowd, I sort of consider as one of them.
Reference 1 - 1.09% Coverage
Core audiences include those who are invested basically in emerging artists. So, that a lot of time, is: donors or those who have a passion for emerging artists. They are deeply invested in the world of opera already. They like to know those famous people before they are famous, that sense of finding an undiscovered talent, the hidden gem, knowing them young, seeing them grow. So, there is sort of that patronage level, people who are definitely a core audience.
Reference 2 - 0.01% Coverage
Reference 1 - 1.27% Coverage we definitely have the web series audience which doesn’t have a ton of crossover with, well it has some crossover but not hugely with our actual audience for our mainstage productions. And so the web series audience is international and it’s really spurred on by social media and by different opera companies all over the world posting about us
Reference 1 - 1.96% Coverage
They’re people that follow my work, they’re people who like contemporary opera. There’s some overlap with contemporary dance, because often what I’m doing is inter-disciplinary, so usually I am drawing on the audiences and the followers of the artists that are involved in each production. We each bring our audience to that. So it can be contemporary music, dance, design, theatre, many different things.
……………………………
Subscription.bulk: 4/3 195
Reference 1 - 0.21% Coverage
We do a subscribe subscription. The subscription has been going on for many years.
Reference 2 - 0.26% Coverage
We don’t have a very large subscription base but we have one that is steady, permanent, committed.
Reference 1 - 3.07% Coverage
One of the things that we always do, is we have a bulk ticket rate. Sort of targeted at businesses and so we’ve gotten some businesses to come but you can as an individual buy. So the people who have actually bought that are exclusively outside of the industry. Which is nice. So we have our core people there that are like, ‘Oh yeh! I’ll buy the ten again’, and bring their friends. And so there’s some crossover in terms of who their friends or colleagues in terms of who they’re bringing and whether they come back again and so we are trying to build an audience that way. This is something to do with your group and it can be a professional development thing. It can be Happy Friday for your employees! All that sort of stuff. And we’re getting a moderate amount of success with that and continuing to try and build that there.
Reference 1 - 0.84% Coverage
I guess you would say that those are the subscribers who come to every show. So we have a subscription base and we -, but I would say that each of those core audience members was cultivated one by one.
…………………………..
Through contacts: 5/5
Reference 1 - 1.20% Coverage
And some are staff at St Joseph’s Hospital, [employment location] and adhere to the hosts who have this house concert, they have their own series which they advertise word-of-mouth and through email.
Reference 1 - 0.53% Coverage
And a lot of it also comes through because of my Mum [a relative] and her long-time involvement in the arts community in Toronto. So, she actually had her own vault of people that she was able to make interested in my opera.
Reference 1 - 1.13% Coverage 196
And then we also sort of come out of network and our board we do have a big chunk of people who are young professionals but are not the traditional opera audience. We always get a group of those coming to each of our productions and we’re building a core group within that who then also try and bring people
Reference 1 - 0.96% Coverage
Of course, I think I have a bit of a core audience, or people I see at all of my shows regardless whether they are through my Renaissance [our opera company] or personal things, so, it’s probably a little bit of a combination.
Reference 1 - 1.67% Coverage
There’s an audience of the usual kind of family-and-friends people that are always interested in what you do. But also people who checked out our first couple of productions out of curiosity and have really stuck with us all along. So there are definitely people who we know are going to be at every production. And therefore we try and reach people who are like those people - if that makes sense.
………………………………
Young People: 3/3
Reference 1 - 0.85% Coverage
I would say the main core group would actually be people under the age of 30. I would say music students and lovers under the age of 30.
Reference 1 - 0.38% Coverage
Also, there’s also some people that are interested, the younger generation, that are interested in other than La Traviata, La Bohème, and Carmen,
Reference 1 - 0.40% Coverage
The age range is between 21 to late 70s. Probably the average age is late 20s early 30s and that’s by virtue of the type of-, that’s our age range.
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