High Notes for Higher Donations #2

High Notes for Higher Donations

Part Two: Rigorous Rehearsal

Connecting with audiences was the primary focus of my ten-year career as an opera singer. That same drive to engage with people animates me in my current role as a frontline fundraiser. Partnering with patrons to align their deepest passions with their ability to make a positive impact is a joyful and meaningful endeavor. Whether singing an aria or requesting a major gift, I do my best work when I can sensitively balance my approach between the art and science of each objective.?

The first fundraising lesson I learned from opera is the need to thoroughly research before meeting with a patron (In case you missed it, this is the article I wrote on that topic). Singing also taught me that studying is only the beginning of preparation. After gathering, distilling, and digesting the requisite information, I must patiently practice.

Preparing for an opera involves both mind and body. To fully understand and memorize my roles, I had to write, speak, and repeat all of the opera's words. Once I mentally grasped the material, it was time for me to begin singing the notes. Muscle memory is a reality; as they say, "practice makes permanent." When I rehearsed without intention, I set up my mind and body to perform poorly. But when I practiced methodically and thoughtfully, I could tap into a state of flow and sing confidently in front of an audience.?

The high stakes of a critical gift solicitation bring up the same kinds of "fight or flight" nerves I felt during opera auditions or performances. Talking about money can always be awkward, and failure to procure a big donation could hinder our organization’s ability to continue serving our community. Though each donor's response to my request is out of my control, my job is to take every step possible to ensure the most effective conversation outcome - both for the supporter and our NPO.??

Before a pivotal meeting with a patron, I rehearse our dialogue. I stand in front of a mirror, visualize the room where we'll meet, and practice the solicitation's timing, inflection, phrasing, and emotion. My biggest challenge is to remain quiet after I request a donor's support. This moment of decision is crucial, so I rehearse that period of silence multiple times. My rehearsal checklist includes power stances, eye contact, and proper speaking speed, which will all add up to a potent and passionate appeal.?

Occasionally I will take this method a step further and role-play with a colleague or record a video and play it back to see how I can improve. Of course, the discussion with a patron never plays out precisely as I rehearsed it. But even if I cannot close a gift during a meeting, I have never regretted my effort in preparation.

We've discussed the importance of research and rehearsal, so what else can opera teach us about fundraising? Watch this space for the next post focusing on rhythm!