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An operatic death
Arguably it is the combination of words and music performed in the present tense that define opera. The narrative and, to a lesser extent, visual aspects are why there is relatively little crossover between opera audiences and symphony audiences. And those narrative and visual aspects are why opera will persevere. 8 great singers and a piano can make a great Boheme, but not a great Messiah.— March 29, 2014 8:17 a.m.
The inside story of San Diego Opera's demise
I've enjoyed reading an insider's perspective, and eagerly await further developments. However, regarding your comments on the failure of new pieces: New Coke was a debacle. The expectation that a loyal, if shrinking audience will respond to new or unfamiliar works with the same enthusiasm as old favorites is a part of this problem. There are countless ways to feature new pieces at a cost lower than that associated with a Boheme or Aida. That way you engage a smaller audience at a lower cost and perhaps find some incentives to have them broaden their perspective. Opera in America is a store that for decades has sold white button down shirts. Over the years, markets have changed, fewer people are buying. In the next 20 years opera will have divided itself between companies that say "Well, maybe we should try adding more colors. Or sell socks as well. " and the ones that say "Nope. We sell white button-downs. If the people don't want them, well, we'll just close. While I realize this is a clumsy metaphor at best, I must say I am proud to work for a company that has decided to embrace the changing nature of the world and find a place for opera within it.— March 29, 2014 8:11 a.m.