SF Opera's Triumphant Start Welcomes a New Century of Opera

A century to remember

On Friday, 8th September, we ushered in a riveting new chapter for the San Francisco Opera. The opening night gala was a feast for all senses, replete with delectable cuisine, captivating arias, and spirited dancing. Kudos to the artists, staff, volunteers, and a special note of commendation to the co-chairs, Sue Graham Johnston and Francesca Gutierrez Amann .

As the San Francisco Opera embarks on its 101st season and a new century of artistic expression, let us pause to reflect on the remarkable achievements of the past season. The centennial celebration not only captivated us with magical narratives but also enriched our city's cultural tapestry. Highlights included the rejuvenated set design for 'Madame Butterfly,' the invigorating 'Frida y Diego,' and the enchanting 'Anthony and Cleopatra' by John Adams. A personal, unforgettable moment for me was last year's opening night gala, where Pene Pati paid tribute to his culture through the poignant performance of a Haka (Samoan Siva Tau war dance).

The dawn of this new century represents a pivot for the San Francisco Opera—from a period defined by creation and growth to an era focused on innovation and ideation. However, the art form faces its share of challenges, necessitating a collective reevaluation of our current standing.

A look behind the curtain

As we look at the state of the opera in 2023, we cannot overlook the significant challenges the performing arts faced. It may feel like a lifetime ago, but COVID-19’s impact is long-lasting with halted performances, casting shadows across auditoriums worldwide. Contributed income, or donations, showed a strong resilience, however, they are negative in real terms.

Lockdowns resulted in two lost seasons, eroded ticket revenue, and a drift in patron loyalty. The Audience Outlook Monitor, facilitated by WolfBrown, predicted in July 2022 that a daunting 25–30% reduction in attendance was the new normal. The Opera has in the past depended heavily on subscription revenues, and COVID not only broke the pattern but also changed the behaviour, as patrons questioned if they needed to keep the commitment.?

When you look at historical ticket revenue for 5 prominent US opera houses, you’ll see flat nominal revenues before COVID, followed by a 90%+ drop in ticket sales during the pandemic. There was a strong bounce back in 2022, but we'll see if we can return to the pre-pandemic days.?

General charitable giving was once more widespread than voting, but today has waned. Less than half of US households now make annual donations. After a strong increase in 2021, as also witnessed by the opera, it looks like charitable giving as a whole dropped by 3.4% between 2021 and 2022 alone. This is likely to impact all opera companies. Also, when adjusted for inflation, which peaked at 8% in 2022, and averaged 2-3% between 2016 to 2021, the 2% CAGR in giving to major opera houses is concerning. This signifies a drop in real donations. Rising costs for sets, infrastructure, and performances strain budgets. Many institutions like the Metropolitan Opera had to make an outsized dip into endowments to balance the books and it’s unclear that will change.

Looking forward to the second act

Before we paint a picture of a diminishing art form, let us not forget that tracing its evolution, opera has historically been a harbinger of innovation. From the use of stage machinery in the 1600s, to radio broadcasts in more recent times it has morphed to meet the needs of changing times. When the pandemic struck, opera housese deftly navigated the digital realm, bringing performances to countless homes. This spirit of reinvention will undoubtedly play a pivotal role in the opera's future.?

The main stage remains a steadfast pillar, but opera houses need to engage with communities on their terms. Opera is either one complex art with a smaller enthusiast base, or can appeal to the world through one of its building blocks that include music, acting, singing, and costume design. You only need patrons to love one and they will appreciate, or sometimes tolerate, the others. Beyond that, passion for the art can tangential, for example, many education advocates see opera as a necessary tool to teach cultural and historical pearls to the next generation.?

As we innovate on stage, opera houses will continue to work hard in addressing ways to:

(1) Ensure that donor concentration risk is managed. Over-reliance on a select few top-tier donors is real. If even one significant donor retracts support, it can necessitate years of outreach to find replacements to match those contributions. A world in which we can push more patrons to donate $50 or $100, sign up for a membership model and grow over time can help increase growth without over-reliance.

(2) Transition to the next generations of opera lovers or the opera curious. The demographic of the opera is often more experienced than other performing arts, and a risk exists that the next generation doesn’t feel the same responsibility to grow the art form. Opera houses should make every offspring, young professional and exploring enthusiast feel welcome, as well as needed. We’ve seen strong strides with NY Met’s "Fridays Under 40" nights, Dolby Family's $10 ticket programme in San Francisco, and Seattle’s "Community Rush Programs".

(3) Continue to focus on excellence and evolve both on and off-stage. The art form produces and uses beauty to build a loyal following. The art form must travel to where the community resides, and fund new and innovative operas, without losing focus on remaking the classics. All without losing sight that quality, not to be confused with perfection, can never be sacrificed in the name of change.

A call to the encore

As patrons and enthusiasts, we can expect our opera houses to provide content, innovation, and engagement opportunities. Still, the responsibility rests with us to uplift this ever-changing art form when they improve and inspire. Many opera institutions rely on donations for 70-80% of their revenue, and as such every bit of support counts. Ticket sales alone can't sustain the opera's magnificence. A few ways that we can do our part:

• Donate in a regular recurring way: Now, 57% of philanthropists contribute through recurring programs, marking a growth from the previous 46%. Embracing such regular contributions, which minimise donor churn, in any amount comfortable, can foster sustained longterm support. If you appreciate the art form, could you donate the equivalent of your internet bill to help?

• Look up workplace-giving initiatives: Though 9% of philanthropists contribute with these programs, like matching gifts or payroll donations, this number represents only a fraction of the potential contributors. When you donate, make sure your donation is magnified by employer donations.?

• Advocate for the opera with your social and professional circle: Our passion or curiosity for the art form is a gift. Bring a patron, encourage a donor, or just help encourage curiosity and intrigue amongst others. If we could each introduce one friend to the opera, and they became a donor, this art form would have a prosperous century to come.

In this unfolding narrative, every one of us has a role. It demands our presence, our advocacy, and when possible, our generosity. Backing bold innovations, even if they deviate from tried and trusted methods, could pave the needed path forward.

Disclaimer: I serve on the Board of Directors of the SF Opera, however, these opinions are my own and do not reflect the views of the San Francisco Opera or any other affiliated organization. All information presented here is public.