2024年度Field报告&美国歌剧协会年度回顾

From the President and CEO This notable development warranted further exploration, so weundertook a national study to learn more about the motivationof these first-time attenders, how they enjoyed their experiences,and what it will take to retain them as part of the opera family. Theresults of this study are summarized in thisAnnual Field Report,but this is only the first installment. Thanks to a new grant from theDr. M. Lee Pearce Foundation, this study will continue with grantsto opera companies ready to test new retention strategies.The most recent year demonstrated once again that vibrant art The world around us presents a shiftinglandscape for opera. Global socio-political tensions, climate change, and warare of profound concern at the same timethat new technologies are revolutionizingthe way we work and live our lives. Planning future opera seasons and related marketing and fundraising strategies is more difficult than ever.The same challenges for opera today are being examined underlies our work. The diversification of the repertoire continueswith a proliferation of new works and productions from a growingAmerican opera canon created by experienced composers andlibrettists as well as artists who are new to opera and bringfresh stories to the stage. Along with thoughtful productions ofmasterpieces from the inherited repertoire, these new worksare a driver of new audiences and a key to redefining opera asa thriving aspect of contemporary American culture.We describe OPERA America as an action-oriented think around the world, as we learned at the World Opera Forum inJune in Los Angeles. The immediate disruption of COVID mayhave passed, but many issues explored in LA linger in the wake ofrising costs and changed audience behaviors. •How do we make a compelling case for opera and maketheaters welcoming to new and more diverse audiences?•How can the intersection of works from the inheritedrepertoire and new operas enrich the entire opera experience?•How do we provide sustainable careers for artists andarts workers?•How can the demands of producing opera be integrated witha parallel commitment to address changing civic priorities?This year’sAnnual Field Reportpresents a data-rich lens on tank. We learn from our members through engaged discourse,research, and observation of their work. Their collectiveexpertise informs our programs and services, many of which aredescribed in this report. We remain grateful to them for theirengagement in our work and to the many donors who make thiswork possible. OPERA America thanks you. some of these dynamics in the United States and Canada. As youwill read, the number of productions and performances offered bycompanies in North America remains below pre-pandemic levels.This is due, in part, to efforts to adjust for lower overall levels ofattendance and offset rising costs. Concurrently, exciting potential for audience growth is revealedin record levels of first-time attendance at most companies. MARC A. SCORCA About OPERA America OPERA America is the national membership organization forartists, administrators, trustees, and audiences, dedicated tosupporting the creation, presentation, and enjoyment of opera.It is committed to developing new work and new audiences,civic practice, artist and leadership development, research,national advocacy, and promoting inclusivity that moves operaforward across America. Copyright © 2025 by OPERA America. All rights reserved. This publicationmay not be reproduced in whole or in part without written permission. The 2024Annual Field Reportand OPERA America Year in Review are made possible with member support, a grant from the WallaceFoundation, and generous special contributions from opera company trustees Tania Beasley-Jolly (Opera Theatre of Saint Louis), AlexanderD. Crary (Washington Concert Opera), Janet Farrell (IN Series), Sharon Gaudino (OperaDelaware), Susan Geyer (The Dallas Opera), AnnetteW. Jarvis (Utah Symphony | Utah Opera), Richard Koseff (Opera Colorado), Mary Kramer (Detroit Opera), Brian H. Powell (Austin Opera),Jerry Roth (Opera Parallèle), Arlene Palmer Schwind (Opera Maine), Chris Uzelac (Lamplighters Music Theatre), and anonymous donors. Introduction data. This publication is only possible thanks to the intensivework of OPERA America’s company members that complete theannual Professional Opera Survey (POS) administered by SMUData Arts. OPERA America’sAnnual Field Reportis designed toprovide leaders in the field with a comprehensiveoverview of the financial health and productivity of operacompanies in North America. The report is a tool for those working at and supporting operacompanies: to understand recent trends in the industry thatunderpin the operating landscape and to have benchmarks forcomparing local progress. The structure of this 2024 report hasbeen reworked extensively to improve its readability and usefulnessto company staff and trustees. The core findings are presented nowaround “key perfo