By Calvin Palmer
Opera is facing hard times in the United States. The global economic crisis has taken its toll of endowments and seen a reduction in sponsorship as corporate sponsors themselves fight for survival.
Last November Opera Pacific, in Santa Ana, California, abruptly announced it was shutting down after four decades of performances. Musicians were told during the intermission of Rossini’s comic opera, Barber of Seville. They honored their professional integrity and played the second act. If the audience went home happy, the musicians certainly did not.
In the same month, the Chattanooga Symphony & Opera Board of Directors voted to suspend opera productions for the 2009-2010 season, citing losses of more than $1.1 million on 11 opera productions over the last six years.
December saw the Baltimore Opera Company announce that it was filing for Chapter 11 bankruptcy, resulting in the cancellation of the productions of Rossini’s Barber of Seville in March and Gershwin’s Porgy and Bess in May. Those patrons who bought season tickets or advanced tickets will not get refunds.
Last week, the economy claimed Connecticut Opera after 67 seasons. It closed its Hartford headquarters and laid off all staff. The 2,000 subscribers who bought tickets for the two recently canceled springtime productions, including La Boheme, will not be getting a refund.
Opera board chairman John Kreitler said the group was not filing for bankruptcy because it cost too much. He said opera officials were working with creditors and called the opera “another casualty of the economic conditions”.
A letter to the 2,000 patrons who had bought now-worthless tickets for two recently canceled springtime productions, including La Boheme, suggests that they write off the cost as a charitable contribution to the opera.
The Michigan Opera Theater, in its 38th season, has a deficit of about $600,000 because of declining donations from Detroit’s Big Three automakers. The opera company is also having difficulty securing a credit line and has huge mortgage payments on its opera house, parking structure and related retail space.
A production has been canceled, some employees laid off or cut to part time employment and plans to build an endowment fund have been postponed.
General director David DiChiera prays every day that another major corporate sponsor won’t announce bankruptcy or layoffs.
Even the mighty New York Metropolitan Opera has scaled back for the 2009-10 season. Senior and administrative staff salaries have been cut by 10 percent and three planned revivals of operas have been canceled in the face of falling ticket sales and a drastically reduced endowment.
San Diego Opera has lost $1 million from just three long-time donators and seen its endowments fall $3.7 million as stocks have fallen. For the 2010, 2011, and 2012 seasons, the company will stage only four operas instead of the usual five.
Opera companies in San Francisco, Los Angeles, Washington, Houston and Miami are also reducing the numbers of operas they put on. Los Angeles Opera has laid off 17 percent of its staff.
The harsh economic climate has hit opera hard because the orchestras, top singers, large choruses, elaborate sets and costumes involve considerable expense.
But all art forms have been affected. The Sacramento Ballet and the Santa Clarita Symphony have closed for the season. Donations to New York’s Carnegie Hall are down 18 percent.
Brandeis University shut down its renowned art museum and will sell off the works to prop up its flagging finances. The San Diego Museum of Art, suffering a 30 percent drop in its endowment since last summer, has laid off 23 employees, a quarter of its staff.
Bob Lynch, president and CEO of the national non-profit Americans for the Arts, says about 10,000 arts organizations nationwide — about 10 percent of the total — have shut down or stand on the verge of collapse.
Leaders of national arts organizations have been lobbying the Obama administration and Congress for $1 billion of the federal bailout money and the creation of a White House arts czar.
“The president is talking about creating and retaining billions of jobs — and thousands of those jobs are arts jobs,” says Marc Scorca, president and CEO of Opera America. “Those programs will disappear if we have to endure the current situation without some assistance.”
And I doubt you will find a single Republican Party supporter who will shed a tear at their passing even though the nation’s cultural life will be greatly diminished by their demise.
[Based on reports by Reuters, San Diego Weekly Reader, Associated Press, Kansas City Star, Chattanooga Times Free Press, and Baltimore Sun.]