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    How Seattle Opera is surviving tough times

    The company's executive director addresses her troops with these words: "At Seattle Opera we have been at battle. We have been at war with multiple enemies. There have been very real casualties. And it isn’t over."
    Conductor Asher Fisch and General Director Speight Jenkins.

    Conductor Asher Fisch and General Director Speight Jenkins. Seattle Opera

    On August 3, at Seattle Opera's annual meeting, I addressed the state of one of Seattle's leading cultural organizations in the wake of an economic crisis that has put many non-profit organizations out of business and seriously threatens many more. But economics isn't our only enemy. I share excerpts from my speech in honor of all the people who dedicate their lives to mission-driven organizations and continue to envision a future that is as bright as the fight we lend to the cause.

    For those of you that have attended one of Seattle Opera’s annual meetings before, this is the point when I give you an insider look of what it’s like to manage an almost $30-million company — an enterprise that any MBA graduate or for-profit executive will tell you is structured to fail. They don’t teach how to run a company whose commodity is passion. And whose currency is belief. Those are usually not the top two elements that financial analysts look for in a successful business plan.

    This past year my insider look has none of the romance, wistfulness, or wit that I may have brought to you in the past. At Seattle Opera we have been at battle. We have been at war with multiple enemies. There have been very real casualties. And it isn’t over.

    This past season, ranks have closed to protect the art of this company, to protect the artistic vision that General Director Speight Jenkins has dedicated a good portion of his life to. There are now many enemies, some such as mediocrity, predictability, and indifference we will never allow to penetrate our front lines. But there are three enemies that are gaining ground, and they threaten who we are and what we do.

    Enemy number one: a precarious economy. Opera is a perilous economic art form regardless, but today we are constantly reminded that doubt supersedes conviction; that change is constant; and even though we were all taught how to count at the tender age of three, we now shouldn’t count on anything. Great opera requires commitments and decisions three to five years in advance. Schlock opera is what you throw together at the last minute when you finally decide the sky isn’t falling.

    The best defense against that type of opera is careful planning and earning the commitment and conviction of our audience and donors. For opera to survive, we, you, and the community need to believe that opera is a necessity, not a frill. We need to know we are in this for the long term, not just surviving the short-term skirmishes.

    Enemy number two: obsolescence. A year ago Seattle had two major newspapers; now we barely have one. There now exists generations of music lovers who may never discover us, because our business is geared to producing live performances. For many, live experiences are now an integrated trajectory of musical exploration that is taking place not only on the stage, but in the digital space. The space we call the internet, the mobile phone networks and devices such as the iPad and Kindle, are transforming how people are discovering their world and defining their interests.

    I’m a mother of a teenager who has been inundated with live opera performances since the age of four, but we don’t exist in her iPod, on her computer, or what she shares with her friends. On her digital odometer, we are a zero.

    Seattle Opera has huge obstacles standing in the way of participating in these spaces and relating to the next generation of audiences — obstacles such as collective bargaining agreements that prevent the digital release of no more than three minutes of content, the inability to use performance content as a teaching tool in the classroom, outdated rules that make DVDs, CDs, or downloadable product extraordinarily expensive to produce. For example, if we were to produce a DVD of our current Ring Cycle it would have to retail at over $2,000 a piece and sell at the top of the classical Billboard charts to have even a remote chance of breaking even. That assumes that the many participants (orchestra, singers, creative team) in the production would give permission to move ahead in such an endeavor.

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