January 23, 2025 • 29 mins
The passionate world of opera fandom might surprise you. Forget polite, hushed appreciation – opera enthusiasts are more like sports fans than theater patrons, tracking their favorite performers across venues, possessing encyclopedic knowledge of past productions, and vocally expressing their approval (or disappointment) during performances.
Joining us for this fascinating exploration are voices from LA Opera and Situation, who reveal how modern opera companies balance centuries of tradition with fresh approaches to welcome new audiences. From $16 tickets to hilarious social media campaigns demystifying opera conventions, LA Opera has positioned itself as an innovator in making this powerful art form accessible without compromising artistic integrity.
"Sometimes the best thing to do is just let opera be opera," explains Eric Bornemann, highlighting how the fundamental power of the art form has sustained it for over 400 years. Yet the company isn't afraid to embrace humor and contemporary culture on platforms like TikTok, where both traditional performance clips and creative, meme-inspired content find enthusiastic audiences.
We also explore how opera extends beyond traditional venues through innovative programming, free outdoor broadcasts, and vital educational initiatives that introduce younger generations to this enduring art form. Whether you're a lifelong opera devotee or opera-curious, this episode offers fascinating insights into one of entertainment's most passionate fan communities.
Recorded Thursday, January 23rd, 2025
Hosts: Meghan Goria, Account Group Director for Arts & Culture, Situation & Damian Bazadona, CEO & Founder, Situation
Guests: Melanie Broussalian, Associate Director of Communications, and Eric Bornemann, Senior Director of Marketing of LA Opera
Producer: Peter Yagecic, Innovation Advisor, Situation
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Peter Yagecic (00:05):
You're listening to Fandom Unpacked the podcast,
an audio version of our regularlivestream series where we
unpack modern fandom with someof the brightest minds in sports
and entertainment.
I'm producer Peter Jajic and intoday's episode we're talking
about opera fandom with asupersized cast of voices From
Situation, we have CEO DamianBazadana and account group
director for arts and culture,Megan Goria, and from LA Opera,
we have CEO Damian Bazzadana andAccount Group Director for Arts
(00:25):
and Culture, Megan Goria.
And from LA Opera, we haveMelanie Vrsalian, Associate
Director of Communications, andEric Bornemann, Senior Director
of Marketing.
Curtain up everybody, Break aleg.
Megan Goria (00:38):
Thank you so much, peter, and welcome everybody.
I am so excited to be here andget the chance to talk about
opera.
I have to say I am a lifelongfan of the art form.
My very first subscription thatI ever had was a student
subscription to the LA Opera.
So this is a full circle momentfor me to be talking to the
team here and I would love tojust kind of going off of that
(01:00):
here from both of you how youfirst came to opera, how you
became a fan, and we'll take itfrom there.
Eric Bornemann (01:06):
Sure.
So I grew up in a town inupstate New York called Saratoga
Springs, where we were luckyenough to have it was the summer
home of the New York CityBallet, philadelphia Orchestra
and, for a period of time, newYork City Opera.
So I grew up going to seeeverything that they had there,
because my parents were way intoit and I grew up on the lawn
there watching it.
So I think it was my first dayat Situation.
(01:30):
John and Damien came to me andwere like we just signed a new
client at the Met Opera.
Do you know anything aboutopera?
And I said, well, I sort ofknow the rep because I saw these
things as a kid, but I haven'tbeen in years and they're like,
well, that's more than more thanwe know at this time.
So, go ahead, your counts, yoursUh, so that's.
So.
That was really my uh, my startjumping off point with the Met
(01:50):
Um, and it was funny, megan uhwas at the Met at that time, uh,
and was, um, you know the theuh she was, she was the client
for situation, so uh it.
So it's been very fun to watchour paths sort of cross and come
back and forth over these years.
So yeah, but I've been herewith LA Opera for 10 years and
love the company and love theway that we do operas and how we
(02:13):
put a sort of unique spin to LAon it.
Melanie Broussalian (02:15):
Love it For me.
I actually have a background inclassical music.
I played piano since I wasseven and then played flute all
through high school and college,but really focused more on the
symphonic, orchestral side ofthings.
But my grandparents were reallybig opera fans and my
great-grandmother was asubscriber to the San Francisco
(02:35):
Opera, so I had kind of alanguage for it.
But it wasn't until I actuallystarted working at LA Opera that
I actually really fell in lovewith the art form, because I
think there's no better way tosee it than from kind of my
vantage point, which agency andinvestment into what's going on
and making all of your fellowcolleagues shine as bright as
(03:10):
everybody else sees them.
Megan Goria (03:13):
Fantastic.
I think let's talk a little bitabout opera fans.
You know we often hear aboutopera and classical music fans
kind of in the same breath astheater fans.
But to my mind they're almostmore like sports fans, right,
like they have their favoriteplayers.
They travel to see the biggames.
You know, they know theirhistory, they know their stats,
they come to everything with,you know, with lots of
(03:34):
information.
They're almost more likebaseball people than musical
theater people.
So I'm curious how you allthink of opera fans kind of
fitting into the pantheon offandom.
Melanie Broussalian (03:45):
Yeah, I would say that they definitely
are some of the most dedicatedfans that I have ever seen and
that's coming from someone whowas in the One Direction fandom
for years.
And, like opera fans are superrowdy and super, which is, I
think, something that not a lotof people realize, and they're
(04:07):
very vocal about whether theylove something and whether they
don't love something.
So that almost kind of makes ourjobs.
It's like a double-edged sword.
It makes our jobs easier insome respects because it you
know, we love having a fan basethat you know really loves the
opera and loves coming out forit and then also like making
sure that they feel heard andmaking sure that they feel like
(04:29):
they're a part of our communityand that you know we're working
together with them.
But I think it's been reallyfun over the past couple years
to really get into social mediaand get really get really kind
of revamp LA Opera's presenceand what it means to be an opera
company on social media in likein our current day and age, and
really push the boundaries on.
(04:49):
You know what opera fandom isand who can be an opera fan, and
so that's been really fun tokind of see our audiences expand
and kind of take them along forthis ride with us.
Eric Bornemann (05:00):
Yeah, I mean, I'll just add, you know we do
have a lot of subscriber eventsand we, you know we'll talk to
our subscribers and you knowwe're coming up on our 40th
season next year, um, which isvery young for an opera company,
um, uh, but uh, you know peoplefeel very invested in the
company and you know someonewill come and start talking to
me about you know they'll say,oh, you're doing x next next
season.
I saw that blah, blah and they,they can rattle off everything.
(05:23):
Like it was yesterday and itwas from 1991, like there is,
there is just a complete, likethe, the opera, when you know we
, we always say it's it.
You know it's greater than thesum of its arts because it's,
you know, the best of music, thebest of theater, the best of
design, the best of dance,sometimes everything put
together.
So when, when, when, everythingis firing all cylinders and it
(05:43):
all clicks, it is that reallytransformative, uh art form that
you really can't get elsewhere.
And people, when, they, when,when they live in, when they
live and breathe, that it is, itis amazing.
Some of they want to, they,they become uh, evangelists for
you in that way.
So a lot of what we thatevangelism and make these people
want to help us convert furtherpeople into opera because, as
(06:06):
we know, opera is, opera hassome challenges that come with
it yeah, I mean, I like to thinkof myself as as one of those
evangelizers and and you know alittle bit of a reformed opera
snob.
Megan Goria (06:17):
I like to say that you know I actually I take a
very serious responsibility whenI bring someone to the opera
for the first time.
You know you want them.
You know you want them to feelwelcome, you want them to feel
like they don't have to know thesecret code and all of the
terminology.
But you know, how do we kind ofdo that on a larger scale?
How do we make it feel a littlebit more welcome to the folks
(06:37):
who might not know the language,might not know what to wear,
those types of slightlyintimidating questions when
you're a first timer um, yeah, Imean we do.
Eric Bornemann (06:47):
We do a lot of things.
I mean we have like from, uh,you know, fairly robust.
You know simple things likefaqs on the website that you
know it's like what do you, whatdo you know?
The one question we get off,often asked a lot is like what
do I wear?
And we always say, you know,it's like we just wear and come
in whatever you want to want tocome in.
You know, wear jeans.
Jeans are fine, that's thething it's always.
Jeans are fun.
Um, and the funny thing is thatyou know a lot of people that
(07:08):
you know, when we're talkingwith people one-on-one in that
regard, they're like like, oh, I, I kind of hoped I would have
to like dress up.
Like it's kind of, especially,um, in la, even though we have,
you know, lots of moviepremieres in the oscars and
things like that.
Um, it's there's not a ton ofopportunities all the time for
people to get really glammed upwhen they go out.
So it's kind of become a thingwhere people come into.
(07:30):
We perform at the ChandlerPavilion, where the Oscars used
to be before they moved to theKodak, and it's this gorgeous
mid-century modern building withall these chandeliers and
mirrors and lights andeverything.
It is like made for selfies.
So people, when they come here,they want to come out and
really show their experience.
Um, we have, you know, a red.
We have a red carpet.
Step and repeat out here andpeople will be on there 30
minutes after the performance isdone.
(07:50):
Um, uh, you know, waiting toget in on queuing and queuing in
a line to take their photo.
Um, it's really, you know,people really want to be seen
and show that they were here andthat's something that we try to
find different ways to reallyentice them to do that, whether
it be through content in youknow, all of our email
communication to them, whetherthey're ticket holders or stuff
(08:10):
that we do with them and try andengage with them when they're
on site here.
Melanie Broussalian (08:13):
Yeah, and I'll also say that I think we
are very cognizant about tryingto dispel, you know,
preconceived notions about whatopera is and who it's for.
So, just for example, this yearwe launched a social media
campaign called Things to KnowAbout LAO.
That really breaks down likevery specific areas of the opera
(08:34):
that we find kind of likehumdrum and ordinary and kind of
like we take for granted.
But realizing that you know, ifyou're a first timer, you may
not know what that box is onstage and like, why is there a
box're a first timer, you maynot know what that box is on
stage and like, why is there abox on stage?
Well, there's somebody in itwho's giving cues, and like
their role is super important.
Or the one thing that I hear allthe time is well, it's like in
(08:57):
Italian or German or French,it's not in English.
I'm like there's some, we havesubtitles, we have super titles
and they're like oh well, Ididn't know that.
So we like did a video about,you know, making sure that
people know that there aretranslations and that you don't
have to speak Italian to enjoythe opera.
And then we also I think we'rereally focusing on reaching
audience members where they are.
(09:18):
So for the social media portion, that's really geared towards
kind of our younger audiences.
But then we have like pre-showtalks that our conductor, james
Conlon, does and that's kind oflike for maybe the older fan
(09:40):
base or, you know, the moresubscribers that are kind of
here and they want more of theinside baseball, look at kind of
what the opera is.
But I mean, it's all foreveryone, for everyone.
But I think it's also importantthat we meet people where they
are and based on kind of liketheir entry points, so that we
can all bring them together andthey can all like reach this
common, you know, experience ofsitting down and watching
something really beautiful playon a stage.
Megan Goria (09:58):
Yeah, I think that's so important to walk that
line of you don't actually needto know anything before you
come into the opera house, butthe more you know, the more you
can appreciate.
So you know having thoseresources available but not
feeling like you have to studyor you have to.
You know, brush up on yourFrench before you walk into the
opera house.
Peter, I think we have aquestion from the audience.
Peter Yagecic (10:18):
We do.
We have a couple of questionscoming in, so I'm just going to
take them in the order in whichthis one came.
Thank you for this.
First of all, what social mediaplatforms are the most
important to opera fandom?
I'm sure we could spend a wholehour on that, but anyone who
wants to take that.
Megan, I know you coined a termthat I had heard for the first
(10:40):
time when we were chatting acouple days ago.
I'm hoping you'll use that now.
Megan Goria (10:43):
Oh opera talk.
Peter Yagecic (10:44):
Yes.
Megan Goria (10:45):
Yes, yeah, opera Talk, yes, yes, yeah.
I mean, melanie, I know you cantalk to this a lot, but I think
there's been just a hugecommunity-building moment around
TikTok, with a lot of operasingers in particular and other
folks who are associated withopera really building community
and giving folks that kind ofreal inside look into what it
(11:05):
takes to be an opera singer, howthey train their bodies like
athletes and the mechanics ofsinging.
But yeah, I would love to knowfrom your perspective what are
the other important platforms?
Melanie Broussalian (11:17):
Yeah, I would say you're looking at like
demographics and who's usingyour platforms is really really
important there, and I would saythat's pretty true to the
engagement that we get on ourplatform.
So, like Facebook is reallyimportant for us because a lot
of our, you know, subscribers,long-term patrons and kind of
(11:37):
our older donor base is reallyon Facebook and then we're
really trying to engage youngeraudiences on Instagram and on
TikTok around you know, thingsthat are a little more silly and
that are a little moreapproachable.
So, kind of towing the linebetween those two, making sure
that our audience feels seenacross the board, is really
(11:57):
important.
Great in terms of just makingsure that we, you know if
there's long form things that wewant to share, that that's kind
of a place where everyone goes.
So, yeah, I would say, likeFacebook, instagram and TikTok
are all kind of equallyimportant in terms of reaching
the folks that we want to reachfrom all the different
(12:18):
demographics of ticket buyersthat we have.
Eric Bornemann (12:21):
I would just add something I think is
fascinating.
So Melanie does a reallyincredible job of creating
really engaging, really fun,really witty, really smart
content for all of our socialmedia channels.
But I think the thing that andthis is not a demerit on
anything that she's created, butI think and please hold me to
the truth if this is not correctbut I think the thing that got
(12:42):
the most views of our um stuffon tiktok was just a performance
clip from turandot.
Yep is one of the things thatit always sticks my mind is that
you know the, the pure natureof what the art form is and the
way that that feels, especiallywhen you have something you know
as as recognizable asnessendorma.
But people, people respond tothat and you know, sometimes we
(13:06):
spend a lot of time trying tothink how do we make Opera
accessible, how do we find a wayto sell Opera or put a little
spin on it, and sometimes thebest thing to do is to just let
Opera be Opera, which is kind offunny.
Megan Goria (13:19):
Yeah, you got to trust the product.
It's been around for 400 plusyears for a reason we want to
make sure that we're neverforgetting the ultimate reason
why we're all here, which is thegreatness of the art form.
Peter, was there anotherquestion that came in?
Peter Yagecic (13:33):
backstage tour at another opera.
Uh, but the question was howmuch do?
Your companies invite fans toget behind the scenes in quotes.
Um, oh, and then there was asub question to that.
Can you tell us more about thequiz thing, megan?
Um, I, you know.
(13:54):
If she lets us in a post-showemail, I'll send the link to the
recording of her own, but thatthat's a big if, but, but in
terms of behind the scenes, uh,would love to to have our
audience learn a little bit moreabout that sure.
Eric Bornemann (14:08):
So one of the things that we've done recently,
in the last uh in the last uhtwo years, is we've changed our
subscription model a bit, um,and we've made something what's
called subscribe and save, whichis an automatic renewal
subscription so that people uhsave more money if they uh,
essentially are signing up inperpetuity, kind of like Amazon
subscribe and save, but forOpera, not for toilet paper.
(14:31):
So we have done that and withthat we've increased a bunch of
perks.
So things like we'll have a daywhere we do behind-the-scenes
tours we have for some peoplethey get to have an exclusive
one-on-one chat with MikeTricollin and Christopher Kelch,
our CEO.
So we leveragebehind-the-scenes access and
(14:53):
things like that for subscriberswho are part of the Subscribing
Safe thing in a way thattraditionally might be done more
on a donor level.
You know traditionally might bedone more on a donor level.
There's still other perks andthings like that for donors, but
we're moving more into tryingto make that, you know, to
re-engage subscribers and togive them more reasons to
maintain their subscriptionseason after season, especially
(15:15):
in the post-COVID world.
Peter Yagecic (15:17):
I had a bit of a tack-on to that that I just
genuinely don't know the answerto.
But another question in ourlast episode of Fandom Unpacked
we talked to the producer ofBroadwayCon and the question was
is there a fan convention foropera?
And if there isn't, shouldthere be?
Megan Goria (15:36):
Let's make one, let's do it right.
I don't think there is.
Peter Yagecic (15:39):
We've got Melissa on speed dial at Mischief, we
can make one happen.
Eric Bornemann (15:42):
There's the Opera America conference, but
that's all for everyone.
Working kind of behind thescenes and a very, very
different look and feel than afan con, yeah.
Megan Goria (15:52):
I will say you know , there are people who dress up
in costume to go to the opera.
You know, I think we're notthat far off from establishing
some sort of convention.
So I think we're on tosomething.
Let's make it happen.
Eric Bornemann (16:08):
Yeah, I mean whenever you do the ring cycle
you get the ring heads who showup with the helmets, and we do
see people dress up like that inLA for other things too, Like
when we did Frida and Diego lastyear, we had people dressing up
like Frida Kahlo and DiegoRivera coming in.
We sort of encouraged that.
Peter Yagecic (16:37):
And it creates just a real fun atmosphere and
brings people in different ways.
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Now back to our Q&A.
Megan Goria (17:03):
Let's talk a little bit about some of the the
different tactics that we'reseeing across the country with
with opera companies to reallykind of modernize opera and
bring in new audiences.
We've talked a little bit aboutsome of them, but we're seeing,
you know, very creative pricingoptions as new productions,
more contemporary programming,live streaming, diversifying
(17:23):
audiences and and singers, andyou know know there's all sorts
of different tactics.
But I'm just curious, from yourperspective, what you think is
the most important or impactfultactic that an opera company can
take to kind of open theirdoors?
Eric Bornemann (17:37):
Sure, I mean, I think it kind of goes back a
little bit to what you weresaying about being authentic and
being truthful.
You know we spend a lot of timeaddressing the points of opera
that have been problematic inthe past.
It has been seen as beingelitist or expensive.
So we always try and claw outthe fact that we have tickets
starting around $16 and reallyhighlight that.
(17:57):
If something starts selling andwe have dynamic pricing, people
start complaining on socialmedia about or start hopping on
our ads and saying, oh gee, allour tickets are so expensive, we
will truthfully jump in and saywe have a whole response about
tickets may be expensive.
Now If you go early you can getaccess to these tickets.
(18:18):
We try and keep things as cheapas possible.
You know that we're a nonprofit.
Lots of people think that we'renot a nonprofit.
(18:44):
That's one of the things that'sthe always trying to sort of
dispel there.
The other thing is we did thisabout two or three years ago but
we had a whole panel discussionduring the pandemic about the
history of racism in opera andhow performers and audiences
have not necessarily beenwelcome into these spaces for
(19:07):
many, many years and um, youknow that was an important thing
to, to, to, to have out there,be, you know, and talk about
that and not, you know, not hidebehind the fact, like, oh well,
you know we've done this operaand we have, you know, this
conductor, but like, really like, talk about it.
And if we can't, you know,measure up to the what, the
things that we're saying, let'shave a conversation about that
and be honest and open about it.
(19:28):
I think we need to do that, weall need to do that as
institutions, otherwise it, youknow, it's, it's some degree of
gaslighting, so, um, that'sthings that have felt very sort
of, you know, and not gettingover our skis in places where we
shouldn't.
Melanie Broussalian (19:46):
Yeah, and I'd also say, on the other end
of that, we also, I think, as anopera company, especially in
comparison to a lot of the moreestablished opera companies, I
think our age is really helpfulin this, in that we're a little
younger but we don't takeourselves as seriously as I
think a lot of other operacompanies do, and I think that
shows in our content and theways that we interact companies
do, and I think that shows inour content and the ways that we
(20:06):
interact with folks, and Ithink that also makes us more
approachable and that, you know,it's not surprising to see
something funny from LA Opera,because it's, you know,
something that we've beenworking on and something that
we've been working towards, andI think people are really open
to that and they I think it'shelpful for audiences,
especially new audiences andfolks that are curious about
(20:29):
opera, to know that it's not.
You know we're not sittingbehind our computers in a high
tower like with our noses turnedup.
You know we're really like weare one of them.
I am as just chronically onlineas anybody else that's also
looking at Instagram or TikTok,and so when I see trends, I
think you know what is somethinglike.
How can LA Opera enter thisconversation with our unique POV
(20:52):
?
And when it works, it really,really works.
And so I think, you know, justnot being afraid to take a
little more risks and be just alittle more out there and a
little more zany, I think issomething that we've really
taken the reins on and I thinkare starting to see other
American opera companies kind offollow in suit, realizing that
(21:13):
there is an audience for likethe sillier stuff, while also
maintaining, you know, theworld-class kind of heritage of
our brand and of our company.
But you know the world-classkind of heritage of our brand
and of our company but you know,making sure that there's room
for both.
Megan Goria (21:32):
I have to say, the LA Opera meme game is
outstanding.
Just a second if you're notfollowing them on the various
social channels, you definitelyshould.
Damian, I think you had aquestion.
Damian Bazadona (21:40):
Yeah, I mean we interview on this webinar.
We've interviewed a significantnumber of brands Formula One,
the NBA, broadwaycon and I findthe question I have is where can
we see the ultimate of operafandom on display?
(22:00):
And what I mean by that is like.
So F1 is like if you get closeto to the track you could smell
the rubber and it's so loud, butit's like amazing.
If you talk about broadway con,it's like when you go in they
first connect with people, or inbroadway it's the 11 o'clock
number or you know, think of allthe different things.
Where, how would you describewith opera?
Like where, if you want to seepure fandom at its purest and
(22:24):
you feel the electricity of thislove for this art form, how
would you describe that?
Where I just love to put somecolor on that, like just to, I
don't know, just some color on,you know.
Melanie Broussalian (22:35):
I would say from my vantage point, I think
what is so great and so likeinspiring about my job and where
I sit is that I am like like aperformance where a performer
has like blown the roof off of aplace, like at the end of an
(23:09):
aria, people will like stand upand clap and they'll like shout
bravo or brava, and that'sreally like amazing.
And then, like final curtaincalls can be just like some of
the loudest that you've everheard, um, and so whenever that
happens, it's like it's prettymagical, um, and so I think you
know, even we've seen that fromanywhere, from like turn dot to
(23:33):
like frida and diego or omar.
So it's, you know, we, the, theproductions, really speak for
themselves, and I think whenpeople connect with them and
they're sitting in their seatsand then you kind of see the
lights come up and how peopleare reacting to it, I think
that's pretty awesome.
Eric Bornemann (23:49):
I would say where fandom lives most extreme
and I'm sure Megan hasexperienced this is the pure joy
and pure hell of a CD signing,which still exists in the opera
world.
Yeah, people still sell cds, um.
But yeah, I mean, when you getyou know someone like renee
fleming or something like thatand they're they're gonna sign.
See you people come out of thewoodworks and even if they have
(24:11):
the thing, they're gonna stay inthat line so they can get that
moment and they will tell theirentire life story what the
artist meant to them, to thatperson, no matter how fast
you're trying to move themthrough that line, it is that's
where, really, that that's thekind of place where it does to
go back to that early.
You know what's sort of thebroadway comic book like that,
like an artist cd signing onabout something is is is extreme
, yeah but you can feel theenergy.
Damian Bazadona (24:32):
I've been your point about feeling the energy
and excitement before curtain.
Before curtain, it's exciting.
I sit next to megan.
I just asked megan a millionquestions because she's just far
more insightful, so I just Igeek out with her.
Megan Goria (24:42):
So I have to say it's.
It's an experience that if youhaven't been to the opera, you
know there's.
There's no microphones.
There is, you know, a liveorchestra with.
You know, 50 to 100.
You know instrumentalistsdirectly, you know, sitting in
front of you in the, in theorchestra.
This is not an experience thatyou can have in any Broadway
(25:02):
theater anymore.
Everything is mic'd, the soundis not as live as it, as it has
been.
I mean the, just the pure wallof sound coming at you.
It's like the old commercialwith the guy sitting in the
chair and getting, you know,getting the speaker blowing in
his face.
It's, it's absolutely anexperience that you can't have
anywhere else and I think thatthat draws people in to that
(25:25):
same level of obsession andfandom.
I mean, anybody who has beenaround opera people, myself
included they will talk your earoff for hours about this one
performance that they saw 50years ago.
It lives somewhere deep in yoursoul in a way that I think very
few things actually can do.
Peter Yagecic (25:46):
Well, and one of our audience members offered
what I think is an answer toyour question, damien, via the
Q&A, so I just want to read it.
Kathy Neuberger said the NathanLane episode of Elspeth on CBS
this year opera fan murderer.
Melanie Broussalian (25:59):
So if that's not an answer to your
question.
Peter Yagecic (26:02):
it's an answer to some question I love it.
Damian Bazadona (26:05):
Thank you.
Peter Yagecic (26:05):
Kathy Nathan Lane and that thing yes.
Megan Goria (26:11):
Fantastic Peter.
Any other questions from theaudience?
Peter Yagecic (26:14):
Well, you know we're running close to the end
of time.
Just, I think, one morequestion, kind of teeing off of
one that you alluded to in yourlast question, megan how
important is presenting operaoutside of the hall for the
future of the art form, whetherit's simulcasting or opera at
the beach?
Just if you want to think aboutgrowing the fans and meeting
(26:34):
them outside the hall, if youwant to think about growing the
fans and meeting them outsidethe hall, yeah, I mean I'd say
for us it's critical.
Eric Bornemann (26:41):
I mean we have a whole half of our programming
sort of every year it fallsunder what we call the off-grand
banner, which is works thateither we're partnering with
another performing arts venue,works that are not the right
size to be in our 3,000-seatDorothy Chandler Pavilion, or
works that are sort of, you know, just more experimental by
(27:02):
nature, and those we do, youknow we party with Red Cat, or
we do, you know, the UnitedTheater Downtown, which used to
be connected to the Ace Hotelbut we now have a going on 10
years of a Halloween, you know,commissioned film score with
operatic you know, sort of notesadded into it that that's
become like sort of this big LAtradition, which is great.
(27:24):
So those points which is sort oflike non-traditional
programming that allows peopleto get in the door and see that
opera is not scary and, you know, sort of changes their
preconceived notions about whatthat is, is very helpful.
And then also access.
So we do, you know, through theLA County Super Board of
Supervisors, we do opera at thebeach and then opera in the park
at one other park location thatswitches around LA every year,
(27:45):
and we do free broadcast of anopera and people come out and
bring their families, bringpicnics.
It's a really wonderful eventand we have a lot of people who
then come from that and thencome see the opera here and sort
of make those, make those, makethose conversions.
Megan Goria (28:01):
Just a quick plug for your local classical station
, your local PBS station thatare often broadcasting.
You know recordings or livestreams of of operas from either
your local company or you knowcompanies around the country.
That is just an invaluable toolto be able to share lots of
(28:22):
different perspectives and lotsof different types of
productions that you might neverget to see.
Um, that was that was how I gotinto.
It was from radio broadcastsand pbs broadcasts.
Eric Bornemann (28:32):
Support your local stations and let me also
give a shout out to our connectsteam, which is our community
engagement and uh educationgroup, which is becoming more
and more so so crucial, as musicis just not taught in schools
anymore and everything they do,you know it's.
It's not like they have theteacher who's going to play the
magic flute for them anymore,like so.
You know, any exposure that wecan, that we can help give you
(28:54):
know, is going to flip theswitch for someone and make them
, you know, start them on alifelong path of loving this art
form and wanting to check itout more.
So big problem to them.
Megan Goria (29:05):
Yeah, absolutely, arts education departments in
institutions are just reallycarrying the brunt of that.
So yeah, great work all around.
Peter Yagecic (29:15):
That's going to do it for this episode of Fandom
Unpacked the podcast.
If you liked what you heard,please be sure to leave us a
review on Apple Podcasts.
Find out how to join us livefor an upcoming recording at
SituationLivecom slash fan.
We'll see you next time, truebelievers.
You're listening to Fandom Unpacked the podcast,
an audio version of our regularlivestream series where we
unpack modern fandom with someof the brightest minds in sports
and entertainment.
I'm producer Peter Jajic and intoday's episode we're talking
about opera fandom with asupersized cast of voices From
Situation, we have CEO DamianBazadana and account group
director for arts and culture,Megan Goria, and from LA Opera,
we have CEO Damian Bazzadana andAccount Group Director for Arts
(00:25):
and Culture, Megan Goria.
And from LA Opera, we haveMelanie Vrsalian, Associate
Director of Communications, andEric Bornemann, Senior Director
of Marketing.
Curtain up everybody, Break aleg.
Megan Goria (00:38):
Thank you so much, peter, and welcome everybody.
I am so excited to be here andget the chance to talk about
opera.
I have to say I am a lifelongfan of the art form.
My very first subscription thatI ever had was a student
subscription to the LA Opera.
So this is a full circle momentfor me to be talking to the
team here and I would love tojust kind of going off of that
(01:00):
here from both of you how youfirst came to opera, how you
became a fan, and we'll take itfrom there.
Eric Bornemann (01:06):
Sure.
So I grew up in a town inupstate New York called Saratoga
Springs, where we were luckyenough to have it was the summer
home of the New York CityBallet, philadelphia Orchestra
and, for a period of time, newYork City Opera.
So I grew up going to seeeverything that they had there,
because my parents were way intoit and I grew up on the lawn
there watching it.
So I think it was my first dayat Situation.
(01:30):
John and Damien came to me andwere like we just signed a new
client at the Met Opera.
Do you know anything aboutopera?
And I said, well, I sort ofknow the rep because I saw these
things as a kid, but I haven'tbeen in years and they're like,
well, that's more than more thanwe know at this time.
So, go ahead, your counts, yoursUh, so that's.
So.
That was really my uh, my startjumping off point with the Met
(01:50):
Um, and it was funny, megan uhwas at the Met at that time, uh,
and was, um, you know the theuh she was, she was the client
for situation, so uh it.
So it's been very fun to watchour paths sort of cross and come
back and forth over these years.
So yeah, but I've been herewith LA Opera for 10 years and
love the company and love theway that we do operas and how we
(02:13):
put a sort of unique spin to LAon it.
Melanie Broussalian (02:15):
Love it For me.
I actually have a background inclassical music.
I played piano since I wasseven and then played flute all
through high school and college,but really focused more on the
symphonic, orchestral side ofthings.
But my grandparents were reallybig opera fans and my
great-grandmother was asubscriber to the San Francisco
(02:35):
Opera, so I had kind of alanguage for it.
But it wasn't until I actuallystarted working at LA Opera that
I actually really fell in lovewith the art form, because I
think there's no better way tosee it than from kind of my
vantage point, which agency andinvestment into what's going on
and making all of your fellowcolleagues shine as bright as
(03:10):
everybody else sees them.
Megan Goria (03:13):
Fantastic.
I think let's talk a little bitabout opera fans.
You know we often hear aboutopera and classical music fans
kind of in the same breath astheater fans.
But to my mind they're almostmore like sports fans, right,
like they have their favoriteplayers.
They travel to see the biggames.
You know, they know theirhistory, they know their stats,
they come to everything with,you know, with lots of
(03:34):
information.
They're almost more likebaseball people than musical
theater people.
So I'm curious how you allthink of opera fans kind of
fitting into the pantheon offandom.
Melanie Broussalian (03:45):
Yeah, I would say that they definitely
are some of the most dedicatedfans that I have ever seen and
that's coming from someone whowas in the One Direction fandom
for years.
And, like opera fans are superrowdy and super, which is, I
think, something that not a lotof people realize, and they're
(04:07):
very vocal about whether theylove something and whether they
don't love something.
So that almost kind of makes ourjobs.
It's like a double-edged sword.
It makes our jobs easier insome respects because it you
know, we love having a fan basethat you know really loves the
opera and loves coming out forit and then also like making
sure that they feel heard andmaking sure that they feel like
(04:29):
they're a part of our communityand that you know we're working
together with them.
But I think it's been reallyfun over the past couple years
to really get into social mediaand get really get really kind
of revamp LA Opera's presenceand what it means to be an opera
company on social media in likein our current day and age, and
really push the boundaries on.
(04:49):
You know what opera fandom isand who can be an opera fan, and
so that's been really fun tokind of see our audiences expand
and kind of take them along forthis ride with us.
Eric Bornemann (05:00):
Yeah, I mean, I'll just add, you know we do
have a lot of subscriber eventsand we, you know we'll talk to
our subscribers and you knowwe're coming up on our 40th
season next year, um, which isvery young for an opera company,
um, uh, but uh, you know peoplefeel very invested in the
company and you know someonewill come and start talking to
me about you know they'll say,oh, you're doing x next next
season.
I saw that blah, blah and they,they can rattle off everything.
(05:23):
Like it was yesterday and itwas from 1991, like there is,
there is just a complete, likethe, the opera, when you know we
, we always say it's it.
You know it's greater than thesum of its arts because it's,
you know, the best of music, thebest of theater, the best of
design, the best of dance,sometimes everything put
together.
So when, when, when, everythingis firing all cylinders and it
(05:43):
all clicks, it is that reallytransformative, uh art form that
you really can't get elsewhere.
And people, when, they, when,when they live in, when they
live and breathe, that it is, itis amazing.
Some of they want to, they,they become uh, evangelists for
you in that way.
So a lot of what we thatevangelism and make these people
want to help us convert furtherpeople into opera because, as
(06:06):
we know, opera is, opera hassome challenges that come with
it yeah, I mean, I like to thinkof myself as as one of those
evangelizers and and you know alittle bit of a reformed opera
snob.
Megan Goria (06:17):
I like to say that you know I actually I take a
very serious responsibility whenI bring someone to the opera
for the first time.
You know you want them.
You know you want them to feelwelcome, you want them to feel
like they don't have to know thesecret code and all of the
terminology.
But you know, how do we kind ofdo that on a larger scale?
How do we make it feel a littlebit more welcome to the folks
(06:37):
who might not know the language,might not know what to wear,
those types of slightlyintimidating questions when
you're a first timer um, yeah, Imean we do.
Eric Bornemann (06:47):
We do a lot of things.
I mean we have like from, uh,you know, fairly robust.
You know simple things likefaqs on the website that you
know it's like what do you, whatdo you know?
The one question we get off,often asked a lot is like what
do I wear?
And we always say, you know,it's like we just wear and come
in whatever you want to want tocome in.
You know, wear jeans.
Jeans are fine, that's thething it's always.
Jeans are fun.
Um, and the funny thing is thatyou know a lot of people that
(07:08):
you know, when we're talkingwith people one-on-one in that
regard, they're like like, oh, I, I kind of hoped I would have
to like dress up.
Like it's kind of, especially,um, in la, even though we have,
you know, lots of moviepremieres in the oscars and
things like that.
Um, it's there's not a ton ofopportunities all the time for
people to get really glammed upwhen they go out.
So it's kind of become a thingwhere people come into.
(07:30):
We perform at the ChandlerPavilion, where the Oscars used
to be before they moved to theKodak, and it's this gorgeous
mid-century modern building withall these chandeliers and
mirrors and lights andeverything.
It is like made for selfies.
So people, when they come here,they want to come out and
really show their experience.
Um, we have, you know, a red.
We have a red carpet.
Step and repeat out here andpeople will be on there 30
minutes after the performance isdone.
(07:50):
Um, uh, you know, waiting toget in on queuing and queuing in
a line to take their photo.
Um, it's really, you know,people really want to be seen
and show that they were here andthat's something that we try to
find different ways to reallyentice them to do that, whether
it be through content in youknow, all of our email
communication to them, whetherthey're ticket holders or stuff
(08:10):
that we do with them and try andengage with them when they're
on site here.
Melanie Broussalian (08:13):
Yeah, and I'll also say that I think we
are very cognizant about tryingto dispel, you know,
preconceived notions about whatopera is and who it's for.
So, just for example, this yearwe launched a social media
campaign called Things to KnowAbout LAO.
That really breaks down likevery specific areas of the opera
(08:34):
that we find kind of likehumdrum and ordinary and kind of
like we take for granted.
But realizing that you know, ifyou're a first timer, you may
not know what that box is onstage and like, why is there a
box're a first timer, you maynot know what that box is on
stage and like, why is there abox on stage?
Well, there's somebody in itwho's giving cues, and like
their role is super important.
Or the one thing that I hear allthe time is well, it's like in
(08:57):
Italian or German or French,it's not in English.
I'm like there's some, we havesubtitles, we have super titles
and they're like oh well, Ididn't know that.
So we like did a video about,you know, making sure that
people know that there aretranslations and that you don't
have to speak Italian to enjoythe opera.
And then we also I think we'rereally focusing on reaching
audience members where they are.
(09:18):
So for the social media portion, that's really geared towards
kind of our younger audiences.
But then we have like pre-showtalks that our conductor, james
Conlon, does and that's kind oflike for maybe the older fan
(09:40):
base or, you know, the moresubscribers that are kind of
here and they want more of theinside baseball, look at kind of
what the opera is.
But I mean, it's all foreveryone, for everyone.
But I think it's also importantthat we meet people where they
are and based on kind of liketheir entry points, so that we
can all bring them together andthey can all like reach this
common, you know, experience ofsitting down and watching
something really beautiful playon a stage.
Megan Goria (09:58):
Yeah, I think that's so important to walk that
line of you don't actually needto know anything before you
come into the opera house, butthe more you know, the more you
can appreciate.
So you know having thoseresources available but not
feeling like you have to studyor you have to.
You know, brush up on yourFrench before you walk into the
opera house.
Peter, I think we have aquestion from the audience.
Peter Yagecic (10:18):
We do.
We have a couple of questionscoming in, so I'm just going to
take them in the order in whichthis one came.
Thank you for this.
First of all, what social mediaplatforms are the most
important to opera fandom?
I'm sure we could spend a wholehour on that, but anyone who
wants to take that.
Megan, I know you coined a termthat I had heard for the first
(10:40):
time when we were chatting acouple days ago.
I'm hoping you'll use that now.
Megan Goria (10:43):
Oh opera talk.
Peter Yagecic (10:44):
Yes.
Megan Goria (10:45):
Yes, yeah, opera Talk, yes, yes, yeah.
I mean, melanie, I know you cantalk to this a lot, but I think
there's been just a hugecommunity-building moment around
TikTok, with a lot of operasingers in particular and other
folks who are associated withopera really building community
and giving folks that kind ofreal inside look into what it
(11:05):
takes to be an opera singer, howthey train their bodies like
athletes and the mechanics ofsinging.
But yeah, I would love to knowfrom your perspective what are
the other important platforms?
Melanie Broussalian (11:17):
Yeah, I would say you're looking at like
demographics and who's usingyour platforms is really really
important there, and I would saythat's pretty true to the
engagement that we get on ourplatform.
So, like Facebook is reallyimportant for us because a lot
of our, you know, subscribers,long-term patrons and kind of
(11:37):
our older donor base is reallyon Facebook and then we're
really trying to engage youngeraudiences on Instagram and on
TikTok around you know, thingsthat are a little more silly and
that are a little moreapproachable.
So, kind of towing the linebetween those two, making sure
that our audience feels seenacross the board, is really
(11:57):
important.
Great in terms of just makingsure that we, you know if
there's long form things that wewant to share, that that's kind
of a place where everyone goes.
So, yeah, I would say, likeFacebook, instagram and TikTok
are all kind of equallyimportant in terms of reaching
the folks that we want to reachfrom all the different
(12:18):
demographics of ticket buyersthat we have.
Eric Bornemann (12:21):
I would just add something I think is
fascinating.
So Melanie does a reallyincredible job of creating
really engaging, really fun,really witty, really smart
content for all of our socialmedia channels.
But I think the thing that andthis is not a demerit on
anything that she's created, butI think and please hold me to
the truth if this is not correctbut I think the thing that got
(12:42):
the most views of our um stuffon tiktok was just a performance
clip from turandot.
Yep is one of the things thatit always sticks my mind is that
you know the, the pure natureof what the art form is and the
way that that feels, especiallywhen you have something you know
as as recognizable asnessendorma.
But people, people respond tothat and you know, sometimes we
(13:06):
spend a lot of time trying tothink how do we make Opera
accessible, how do we find a wayto sell Opera or put a little
spin on it, and sometimes thebest thing to do is to just let
Opera be Opera, which is kind offunny.
Megan Goria (13:19):
Yeah, you got to trust the product.
It's been around for 400 plusyears for a reason we want to
make sure that we're neverforgetting the ultimate reason
why we're all here, which is thegreatness of the art form.
Peter, was there anotherquestion that came in?
Peter Yagecic (13:33):
backstage tour at another opera.
Uh, but the question was howmuch do?
Your companies invite fans toget behind the scenes in quotes.
Um, oh, and then there was asub question to that.
Can you tell us more about thequiz thing, megan?
Um, I, you know.
(13:54):
If she lets us in a post-showemail, I'll send the link to the
recording of her own, but thatthat's a big if, but, but in
terms of behind the scenes, uh,would love to to have our
audience learn a little bit moreabout that sure.
Eric Bornemann (14:08):
So one of the things that we've done recently,
in the last uh in the last uhtwo years, is we've changed our
subscription model a bit, um,and we've made something what's
called subscribe and save, whichis an automatic renewal
subscription so that people uhsave more money if they uh,
essentially are signing up inperpetuity, kind of like Amazon
subscribe and save, but forOpera, not for toilet paper.
(14:31):
So we have done that and withthat we've increased a bunch of
perks.
So things like we'll have a daywhere we do behind-the-scenes
tours we have for some peoplethey get to have an exclusive
one-on-one chat with MikeTricollin and Christopher Kelch,
our CEO.
So we leveragebehind-the-scenes access and
(14:53):
things like that for subscriberswho are part of the Subscribing
Safe thing in a way thattraditionally might be done more
on a donor level.
You know traditionally might bedone more on a donor level.
There's still other perks andthings like that for donors, but
we're moving more into tryingto make that, you know, to
re-engage subscribers and togive them more reasons to
maintain their subscriptionseason after season, especially
(15:15):
in the post-COVID world.
Peter Yagecic (15:17):
I had a bit of a tack-on to that that I just
genuinely don't know the answerto.
But another question in ourlast episode of Fandom Unpacked
we talked to the producer ofBroadwayCon and the question was
is there a fan convention foropera?
And if there isn't, shouldthere be?
Megan Goria (15:36):
Let's make one, let's do it right.
I don't think there is.
Peter Yagecic (15:39):
We've got Melissa on speed dial at Mischief, we
can make one happen.
Eric Bornemann (15:42):
There's the Opera America conference, but
that's all for everyone.
Working kind of behind thescenes and a very, very
different look and feel than afan con, yeah.
Megan Goria (15:52):
I will say you know , there are people who dress up
in costume to go to the opera.
You know, I think we're notthat far off from establishing
some sort of convention.
So I think we're on tosomething.
Let's make it happen.
Eric Bornemann (16:08):
Yeah, I mean whenever you do the ring cycle
you get the ring heads who showup with the helmets, and we do
see people dress up like that inLA for other things too, Like
when we did Frida and Diego lastyear, we had people dressing up
like Frida Kahlo and DiegoRivera coming in.
We sort of encouraged that.
Peter Yagecic (16:37):
And it creates just a real fun atmosphere and
brings people in different ways.
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Now back to our Q&A.
Megan Goria (17:03):
Let's talk a little bit about some of the the
different tactics that we'reseeing across the country with
with opera companies to reallykind of modernize opera and
bring in new audiences.
We've talked a little bit aboutsome of them, but we're seeing,
you know, very creative pricingoptions as new productions,
more contemporary programming,live streaming, diversifying
(17:23):
audiences and and singers, andyou know know there's all sorts
of different tactics.
But I'm just curious, from yourperspective, what you think is
the most important or impactfultactic that an opera company can
take to kind of open theirdoors?
Eric Bornemann (17:37):
Sure, I mean, I think it kind of goes back a
little bit to what you weresaying about being authentic and
being truthful.
You know we spend a lot of timeaddressing the points of opera
that have been problematic inthe past.
It has been seen as beingelitist or expensive.
So we always try and claw outthe fact that we have tickets
starting around $16 and reallyhighlight that.
(17:57):
If something starts selling andwe have dynamic pricing, people
start complaining on socialmedia about or start hopping on
our ads and saying, oh gee, allour tickets are so expensive, we
will truthfully jump in and saywe have a whole response about
tickets may be expensive.
Now If you go early you can getaccess to these tickets.
(18:18):
We try and keep things as cheapas possible.
You know that we're a nonprofit.
Lots of people think that we'renot a nonprofit.
(18:44):
That's one of the things that'sthe always trying to sort of
dispel there.
The other thing is we did thisabout two or three years ago but
we had a whole panel discussionduring the pandemic about the
history of racism in opera andhow performers and audiences
have not necessarily beenwelcome into these spaces for
(19:07):
many, many years and um, youknow that was an important thing
to, to, to, to have out there,be, you know, and talk about
that and not, you know, not hidebehind the fact, like, oh well,
you know we've done this operaand we have, you know, this
conductor, but like, really like, talk about it.
And if we can't, you know,measure up to the what, the
things that we're saying, let'shave a conversation about that
and be honest and open about it.
(19:28):
I think we need to do that, weall need to do that as
institutions, otherwise it, youknow, it's, it's some degree of
gaslighting, so, um, that'sthings that have felt very sort
of, you know, and not gettingover our skis in places where we
shouldn't.
Melanie Broussalian (19:46):
Yeah, and I'd also say, on the other end
of that, we also, I think, as anopera company, especially in
comparison to a lot of the moreestablished opera companies, I
think our age is really helpfulin this, in that we're a little
younger but we don't takeourselves as seriously as I
think a lot of other operacompanies do, and I think that
shows in our content and theways that we interact companies
do, and I think that shows inour content and the ways that we
(20:06):
interact with folks, and Ithink that also makes us more
approachable and that, you know,it's not surprising to see
something funny from LA Opera,because it's, you know,
something that we've beenworking on and something that
we've been working towards, andI think people are really open
to that and they I think it'shelpful for audiences,
especially new audiences andfolks that are curious about
(20:29):
opera, to know that it's not.
You know we're not sittingbehind our computers in a high
tower like with our noses turnedup.
You know we're really like weare one of them.
I am as just chronically onlineas anybody else that's also
looking at Instagram or TikTok,and so when I see trends, I
think you know what is somethinglike.
How can LA Opera enter thisconversation with our unique POV
(20:52):
?
And when it works, it really,really works.
And so I think, you know, justnot being afraid to take a
little more risks and be just alittle more out there and a
little more zany, I think issomething that we've really
taken the reins on and I thinkare starting to see other
American opera companies kind offollow in suit, realizing that
(21:13):
there is an audience for likethe sillier stuff, while also
maintaining, you know, theworld-class kind of heritage of
our brand and of our company.
But you know the world-classkind of heritage of our brand
and of our company but you know,making sure that there's room
for both.
Megan Goria (21:32):
I have to say, the LA Opera meme game is
outstanding.
Just a second if you're notfollowing them on the various
social channels, you definitelyshould.
Damian, I think you had aquestion.
Damian Bazadona (21:40):
Yeah, I mean we interview on this webinar.
We've interviewed a significantnumber of brands Formula One,
the NBA, broadwaycon and I findthe question I have is where can
we see the ultimate of operafandom on display?
(22:00):
And what I mean by that is like.
So F1 is like if you get closeto to the track you could smell
the rubber and it's so loud, butit's like amazing.
If you talk about broadway con,it's like when you go in they
first connect with people, or inbroadway it's the 11 o'clock
number or you know, think of allthe different things.
Where, how would you describewith opera?
Like where, if you want to seepure fandom at its purest and
(22:24):
you feel the electricity of thislove for this art form, how
would you describe that?
Where I just love to put somecolor on that, like just to, I
don't know, just some color on,you know.
Melanie Broussalian (22:35):
I would say from my vantage point, I think
what is so great and so likeinspiring about my job and where
I sit is that I am like like aperformance where a performer
has like blown the roof off of aplace, like at the end of an
(23:09):
aria, people will like stand upand clap and they'll like shout
bravo or brava, and that'sreally like amazing.
And then, like final curtaincalls can be just like some of
the loudest that you've everheard, um, and so whenever that
happens, it's like it's prettymagical, um, and so I think you
know, even we've seen that fromanywhere, from like turn dot to
(23:33):
like frida and diego or omar.
So it's, you know, we, the, theproductions, really speak for
themselves, and I think whenpeople connect with them and
they're sitting in their seatsand then you kind of see the
lights come up and how peopleare reacting to it, I think
that's pretty awesome.
Eric Bornemann (23:49):
I would say where fandom lives most extreme
and I'm sure Megan hasexperienced this is the pure joy
and pure hell of a CD signing,which still exists in the opera
world.
Yeah, people still sell cds, um.
But yeah, I mean, when you getyou know someone like renee
fleming or something like thatand they're they're gonna sign.
See you people come out of thewoodworks and even if they have
(24:11):
the thing, they're gonna stay inthat line so they can get that
moment and they will tell theirentire life story what the
artist meant to them, to thatperson, no matter how fast
you're trying to move themthrough that line, it is that's
where, really, that that's thekind of place where it does to
go back to that early.
You know what's sort of thebroadway comic book like that,
like an artist cd signing onabout something is is is extreme
, yeah but you can feel theenergy.
Damian Bazadona (24:32):
I've been your point about feeling the energy
and excitement before curtain.
Before curtain, it's exciting.
I sit next to megan.
I just asked megan a millionquestions because she's just far
more insightful, so I just Igeek out with her.
Megan Goria (24:42):
So I have to say it's.
It's an experience that if youhaven't been to the opera, you
know there's.
There's no microphones.
There is, you know, a liveorchestra with.
You know, 50 to 100.
You know instrumentalistsdirectly, you know, sitting in
front of you in the, in theorchestra.
This is not an experience thatyou can have in any Broadway
(25:02):
theater anymore.
Everything is mic'd, the soundis not as live as it, as it has
been.
I mean the, just the pure wallof sound coming at you.
It's like the old commercialwith the guy sitting in the
chair and getting, you know,getting the speaker blowing in
his face.
It's, it's absolutely anexperience that you can't have
anywhere else and I think thatthat draws people in to that
(25:25):
same level of obsession andfandom.
I mean, anybody who has beenaround opera people, myself
included they will talk your earoff for hours about this one
performance that they saw 50years ago.
It lives somewhere deep in yoursoul in a way that I think very
few things actually can do.
Peter Yagecic (25:46):
Well, and one of our audience members offered
what I think is an answer toyour question, damien, via the
Q&A, so I just want to read it.
Kathy Neuberger said the NathanLane episode of Elspeth on CBS
this year opera fan murderer.
Melanie Broussalian (25:59):
So if that's not an answer to your
question.
Peter Yagecic (26:02):
it's an answer to some question I love it.
Damian Bazadona (26:05):
Thank you.
Peter Yagecic (26:05):
Kathy Nathan Lane and that thing yes.
Megan Goria (26:11):
Fantastic Peter.
Any other questions from theaudience?
Peter Yagecic (26:14):
Well, you know we're running close to the end
of time.
Just, I think, one morequestion, kind of teeing off of
one that you alluded to in yourlast question, megan how
important is presenting operaoutside of the hall for the
future of the art form, whetherit's simulcasting or opera at
the beach?
Just if you want to think aboutgrowing the fans and meeting
(26:34):
them outside the hall, if youwant to think about growing the
fans and meeting them outsidethe hall, yeah, I mean I'd say
for us it's critical.
Eric Bornemann (26:41):
I mean we have a whole half of our programming
sort of every year it fallsunder what we call the off-grand
banner, which is works thateither we're partnering with
another performing arts venue,works that are not the right
size to be in our 3,000-seatDorothy Chandler Pavilion, or
works that are sort of, you know, just more experimental by
(27:02):
nature, and those we do, youknow we party with Red Cat, or
we do, you know, the UnitedTheater Downtown, which used to
be connected to the Ace Hotelbut we now have a going on 10
years of a Halloween, you know,commissioned film score with
operatic you know, sort of notesadded into it that that's
become like sort of this big LAtradition, which is great.
(27:24):
So those points which is sort oflike non-traditional
programming that allows peopleto get in the door and see that
opera is not scary and, you know, sort of changes their
preconceived notions about whatthat is, is very helpful.
And then also access.
So we do, you know, through theLA County Super Board of
Supervisors, we do opera at thebeach and then opera in the park
at one other park location thatswitches around LA every year,
(27:45):
and we do free broadcast of anopera and people come out and
bring their families, bringpicnics.
It's a really wonderful eventand we have a lot of people who
then come from that and thencome see the opera here and sort
of make those, make those, makethose conversions.
Megan Goria (28:01):
Just a quick plug for your local classical station
, your local PBS station thatare often broadcasting.
You know recordings or livestreams of of operas from either
your local company or you knowcompanies around the country.
That is just an invaluable toolto be able to share lots of
(28:22):
different perspectives and lotsof different types of
productions that you might neverget to see.
Um, that was that was how I gotinto.
It was from radio broadcastsand pbs broadcasts.
Eric Bornemann (28:32):
Support your local stations and let me also
give a shout out to our connectsteam, which is our community
engagement and uh educationgroup, which is becoming more
and more so so crucial, as musicis just not taught in schools
anymore and everything they do,you know it's.
It's not like they have theteacher who's going to play the
magic flute for them anymore,like so.
You know, any exposure that wecan, that we can help give you
(28:54):
know, is going to flip theswitch for someone and make them
, you know, start them on alifelong path of loving this art
form and wanting to check itout more.
So big problem to them.
Megan Goria (29:05):
Yeah, absolutely, arts education departments in
institutions are just reallycarrying the brunt of that.
So yeah, great work all around.
Peter Yagecic (29:15):
That's going to do it for this episode of Fandom
Unpacked the podcast.
If you liked what you heard,please be sure to leave us a
review on Apple Podcasts.
Find out how to join us livefor an upcoming recording at
SituationLivecom slash fan.
We'll see you next time, truebelievers.
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