The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.
Contents: Introduction, Anastasia Belina-Johnson and Derek B. Scott; Trends and innovations in opera, Nicholas Payne; Baroque opera, historical information, and business; or, how a nerd became a hipster, Christine Fischer; From state opera to multilevel opera business: the transformation of opera governance in Berlin, London and Paris at the end of the 20th century, Sarah Zalfen; The business of composing opera: a composer’s perspective, Paul Alan Barker; Interdisciplinary support for opera practice in the UK, Christopher Newell; The world opera: a new global format for the business of opera, Jason E. Geistweidt and Niels W. Lund; Opera orchestral contracts considered as a research resource, George Kennaway; Behind the curtain: shaping a new Siegfried, Cordelia Chenault; A Ring for people and place: creating expectation and fulfilling demand, Jennifer Daniel; Strategic nationalism towards the imagined community: the rise and success story of Finnish opera, Liisamaija Hautsalo; Bibliography; Index.
This book helps sharpen the focus of music historians, spectators-consumers of music, and the multiple actors involved in the business of opera. By taking us behind the scenes, it reminds us that opera certainly lives on the talent of its creators and performers, but survives, also, on money from those who finance it. It is one of the merits of the book to provide concrete and emblematic evidence.
Mélanie Traversier, Transposition: Musique et Sciences Sociales