Opera Nabi Q&A: LA-Based Startup Where Anime, Opera & Stickers Meet, Beautifully

Opera Nabi Founder Kristen Choi: “I was inspired to make these fun creations through the worlds of opera and music, with anime and Manga. So, if you have an interest in any of those subjects, this is the Etsy store for you!”

We’re beyond thrilled for Opera Innovation contributor Kristen Choi. Her recently launched Opera Nabi shop on Etsy is a small business / opera startup built on bridging visual and operatic art forms, as well as a multitude of cultures and cultural art forms (ps “nabi” means “butterfly” in Korean). Through Opera Nabi, Kristen’s operatic and illustration skills and knowledge are beautifully joined as a one-of-a-kind sticker shop. If that’s not “opera innovation” we don’t know what is! Just back from Italy, Kristen took time to do a quick Q&A with us. Links for Kristen’s Etsy shop and more work samples below, keep Opera Nabi in mind for Black Friday, Small Business Saturday and Holiday Stocking Stuffers. JM

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Opera Innovation Q&A | Opera Nabi Founder Kristen Choi

OI: Could you tell us why this art form inspires and delights and how you arrived at the Opera Nabi small business concept?

KC: I've always loved anime, since I was a kid. The drawing style always attracted me and even more so the chibi style. I mean who doesn't love mini, cute versions of things? It's appealing! And just adorable. I decided to start (Opera Nabi) after tapping back into my old hobby of drawing. As mentioned, I love anime and manga, so I decided to pick up drawing and sketching again. Then, after drawing for a while, I decided to become even more creative with it. While in quarantine, I felt that it was time explore creativity in other places besides music and singing. That’s when I decided to bridge the opera world I miss so much with this revived hobby of sketching and doodling. By doing so, I could reimagine famous opera scenes and composers in the manga or chibi style. I decided to put a poll on Instagram just for fun, to market research the idea, actually getting some positive responses from friends and colleagues.

I also wanted the name of my store to reflect who I am. Of course, it had to be opera-related, so opera had to be a part of the name. I decided on ‘Nabi’ because in Korean it means ‘Butterfly.’ The opera, Madama Butterfly, also has a very significant place in my heart, becoming the main inspiration for my shop’s name. Also, if you know me, I'm a very social person and love meeting people and making friends, so there’s that word play, too. I also wanted to keep the name in Korean to reflect my cultural identity.

OI: Who is your customer and why? For instance if I'm an opera lover but not a sticker aficionado, how would you sell me on the idea of collecting and using Opera Nabi creations?

KC: Well, customers right now are mostly opera and music lovers. Stickers are super accessible and make amazing gifts for opening and closing nights of shows and are also cute accessories to decorate personal items. Singers can add some extra personality to their scores, notebooks, tablets, or waterbottles by putting a sticker on any of these items. I'm still in the process of ordering cards with opera anime scenes depicted, but I imagine they’d be beautiful gifts to give to people.

OI: The opportunity to "sell" opera to people already interested in these art forms is obvious. What are your thoughts for perhaps nurturing a greater interest in opera through the Opera Nabi imagery and products you're creating?

KC: Right now, anime is super mainstream, especially among younger generations. When I was a kid, it was considered nerdy or "dorky" to like anime, but now it’s considered to be a beautiful art form. I think by connecting the two and reimagining opera in this style, Opera Nabi could attract some anime otaku nerds and lovers.

Screenshot from Opera Nabi on Instagram.

OI: The Opera Nabi product line seems like a great new hobby. How are you approaching the holiday season? What are your business goals for the holiday?

KC: Honestly, I’m just trying to add more products to my store and pump out more designs that people have requested. Getting more followers and keeping traction would be good, but it's been kind of a hectic time for me traveling during COVID, so I needed to get back on track with the store and upcoming designs. A new batch of sticker design orders will be coming in, so I’ll definitely make a special offer for the holiday season. Keep on the look out for bundle orders and special discounts!

OI: How has the Etsy platform and technology made the Opera Nabi business concept better and/or easier to access?

KC: Etsy makes everything so easy to sell on their platform and since it's well-known, people come to it with built-in trust, ready to order from the site. I’ll probably get more traction as I add more products in the coming days and weeks. It's probably be a bit of trial and error, but so far, so great.

OI: What are your future plans for Opera Nabi? Have you considered special partnerships and collaborations with opera companies i.e. special sets for seasons or particular operas?

KC: I don’t have particular plans or projects, collaboration wise, with other companies as yet. But, I’m always open to collaboration, especially if a given project intrigues me personally and/or artistically.

If the Opera Nabi concept is of interest, I’d love everyone to please follow our Instagram. I promise to post more designs ASAP, and if people have ideas they’d like to share or want to discuss special commissions, please DM me. Happy Holidays to all, and please stay safe!

Letter from Berlin: Insignia Athlone Artists Power Forward in Europe

Tenor Spencer Britten and Baritone Ian Burns in Berlin. Life partners with coveted spots on the newly-formed Insignia Athlone Artist Management roster, specifically built for the European market. Photo: Spencer Britten (2020)

The first time I met Ian Burns, he was a 2019 Santa Fe Opera Apprentice. He and his collegues had just given a stirring concert performance at Four Seasons Santa Fe, an annual event that generally kicks off the Company’s summer season. It was wonderful to see him excel across four (4) different productions (The Pearl Fishers, Cosí fan tutte, Jenufa, and The Thirteenth Child). Thanks to Instagram, I later discovered that his partner Spencer Britten was also an opera singer at L’ Atelier Lyrique de l’Opéra de Montréal. Fast forward to our COVID-19 present, Ian and Spencer have put the long-distance dynamic behind them, now living and working together in Berlin, Germany. Thanks to Spencer’s Instagram, I also discovered that they’re both part of a newly formed partnership between US-based opera management firms Insignia Artists and Athlone Artists - Insignia Athlone, a hybrid agency purpose-built for the European market. Ian and Spencer were both receptive to sharing thoughts regarding Insignia Athlone’s innovative business model and approach, as well as how they’re managing in the age of COVID-19, perhaps supporting a trend of opera professionals relocating to Europe, something Opera Innovation’s noticed, at least anecdotally. Ian and Spencer also echo #Opera2point0 thoughts on the future of opera and changes roiling an industry experiencing its own, real-time evolution. Over to you, gents. JM

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By Ian Burns and Spencer Britten

(Berlin, Germany) - As an opera couple, we feel extremely lucky to have already had a plan to move to Berlin prior to the pandemic that’s continued to crush the arts globally, but especially in our respective home countries of Canada and the United States. Prior to our decision to move to Germany, we’d intended to relocate somewhere in the US, continuing to feed our growing roots in the North American market. However, fate had a different idea when Spencer was offered a position at the International Opera Studio of the Staatsoper Unter den Linden. We ultimately decided to put an end to years of long-distance relationship, going to Berlin together, Ian introducing himself to the European market.

Both of us were very gratefully to be represented by Miguel Rodriguez at Athlone Artists - we felt very secure knowing that we’d have his guidance and support during our initial, transitional period in Germany. However, once the pandemic hit, many of our performance and audition opportunities began to disappear; we felt like we’d instantly lost a huge portion of what we’d envisioned to be our market. In spite of it all, Miguel has been wonderful, reassuring his entire Athlone roster that things were in motion and rapidly changing.

Of course, timing is everything.

As we were settling in as an opera couple in Berlin, another type of coming together was happening. On October 7, 2020, Miguel’s Athlone Artists, Gloria Parker’s Insignia Artists and Catriona Bell officially announced Insignia Athlone Artists, a collaborative agency purpose-built to bring select artists from each founder’s roster to Europe; we’re so honored to be represented by these dynamic management professionals, and to be a part of this incredible group of singers, directors and conductors.

From Insignia Athlone’s 07OCT press release, Co-Founder Gloria Parker said: “In a time of transition, we see opportunity.” Putting our business of opera hats on, we see Insignia Athlone’s combined synergies and efficiencies as the establishment of a novel, nimble and effective artist management model for Europe. As singers on IA’s founding roster, we’re so grateful to have the reassurance and optimism of our management team during these uncertain times. And their ability to quickly pivot during a global pandemic, ideating and launching Insignia Athlone…this is completely reassuring.

Spencer and Ian on Athlone Street in Vancouver, British Columbia. Photo: Spencer Britten (2020)

The same, values-driven approach that Miguel shared with us as Athlone Artists also resonates across the new venture. Miguel from the same 07OCT press release: “Insignia Athlone Artists will provide comprehensive worldwide service, bringing to bear a depth of knowledge in our combined skills. That includes extensive personal experience with vocalism and stagecraft, honest evaluation of talent, thoughtful casting, and integrity in our professional relationships.”

We’d also like to emphasize how grateful we are to have planned our move to Berlin before the pandemic happened. Opportunities in Germany seemed like a great starting point for the next chapter of our careers and, despite the global pandemic, we’ve still made some great strides forward, personally and professionally. Also, Vancouver is the most expensive Canadian city in which to live, so Berlin provides us with an affordable cost of living as we continue to work and audition, live and online. Even though we’re working through shutdowns, German opera companies are fighting tooth and nail to maintain operations as they’re able, within government guidelines.

“This career is full of sudden changes and big moves, being on the Insignia Athlone roster brings me a steady partnership while navigating this ever-changing industry. It’s a good feeling having such a great team to work with, the innovative partnership that is Insignia Athlone will be a guiding force through the pandemic and a light at the end of the tunnel when we all come out on the other side.”  - Ian Burns, Baritone | Insignia Athlone

Like every other singer, we’re learning how to master the brave new world of online opera. Ian’s also been successfully navigating a primarily online audition season via pre-recorded videos, as well as live-streamed auditions. We’re really fortunate in Germany since some live auditions are still taking place. Ian’s found that having a live audition in a room (if possible) is ideal and when it comes to technology, he’s keeping it as simple as possible (here come the pro tips). For example, for best results on zoom, Ian uses his laptop with the built-in mic, enabling Original Sound through the Zoom platform. In the event that pre-recorded tracks are necessary, figuring out how to acquire custom-made tracks is ideal; best case scenario is with video, in order to keep in time with the pianist as they play and conduct as necessary for each piece. 

“Having Miguel, Gloria, and Catriona, working together with this premium roster brings me great faith that we are working towards a great future in opera. Through these tough times, they are providing a light that will shine forward through and past this pandemic.” - Spencer Britten, Tenor | Insignia Athlone

But opportunity knocks outside Germany, too. Just this month, Spencer traveled back to Vancouver (with requisite quarantine time and testing) to be part of an incredible online project with Canada’s Against the Grain Theatre (AtG.)  From the press release: “On December 13th, 2020, the multi-award-winning innovative team at Against the Grain Theatre (AtG) is proud to present a bold interpretation of Handel’s Messiah, created in partnership with the Toronto Symphony Orchestra (TSO). The daring, seventy-minute filmed performance of Messiah/Complex will showcase multilingual translations, and feature a diverse cast of soloists and choirs from every Province and Territory across Canada, accompanied by the exceptional sounds of the TSO and conducted by Johannes Debus (Canadian Opera Company). Messiah/Complex is co-directed by the Founding Artistic Director of AtG, Joel Ivany, and Banff Centre’s Director of Indigenous Arts, Reneltta Arluk.”

We both admire leaders and companies like Joel Ivany and AtG, along with the aforementioned arts management expertise of Gloria, Miguel and Catriona. They are the forces creating a path forward for opera, innovating new ways to keep the art form alive and accessible, as well as creating artist income opportunities and making diversity central to their projects. It really is a brand new world for opera, or, at least the beginning of one. We’ve embraced the necessity to adapt quickly, to evolve. Both of us, at one time or another, have heard people say that opera is ten years behind the rest of the performing arts. That may or may not be true, but the pandemic might be kicking our industry into a higher, more purposeful gear, forcing us to catch up. - SB | IB

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Spencer Britten is a Chinese-Canadian tenor. Originally from British Columbia, Canada, Spencer completed his operatic studies with J.Patrick Raftery at The University of British Columbia. He recently finished two seasons at both The Glimmerglass Festival and l’Opéra de Montréal. Spencer joined the International Opera Studio at Staatsoper Unter den Linden in 2020, making his house debut in Ariadne auf Naxos. Upcoming 2020-21 performances include Tannhäuser, Rigoletto, Die Zauberflöte, Der Rosenkavalier, La bohème, La Traviata, Salome, and La fanciulla del west.

Visit SpencerBritten.com and follow Spencer on Instagram and Facebook.

The 2020-21 International Opera Studio of the Staatsoper Unter den Linden. Founded in November 2007, and under the direction of conductor, pianist and vocal coach Boris Anifantakis, The International Opera Studio “offers young, talented singers the possibility to prepare themselves for an artistically demanding career in opera and musical theatre. The overall artistic direction of the International Opera Studio is provided by Daniel Barenboim, whose primary concern is to provide continuing education and consistent support within the framework of the Staatsoper for the artistic development of promising young singers.” - Excerpted from Staatsoper Unter den Linden’s website

Ian Burns is a Peruvian-Irish American baritone. A recent graduate of the University of British Columbia’s Diploma in Voice program, completing his operatic studies with J. Patrick Raftery, Ian is rapidly gaining recognition for his rich tone and self-assured stage presence. In the summer of 2020, Burns was prepared to cover the roles of Herr Zeller in The Sound of Music and Masetto in Don Giovanni as a member of the Glimmerglass Festival’s Young Artist Program, but instead participated in the company’s six-week virtual festival created in the wake of the COVID-19 pandemic. The summer of 2019 saw Burns as an Apprentice Artist at Santa Fe Opera, where he covered the roles of the Foreman in Janáček’s Jenůfa and The Gardener in the world premiere of Poul Ruders’ The Thirteenth Child and Marcello in La Bohème. Berlin-based for the 2020-21 season, Ian and his Insignia Athlone team are focused on building his career in Germany and across Europe.

Visit IanBurnsBaritone.com and follow Ian on Instagram.

Pop Music & Opera thoughts from a K-pop dancing, musical theater and jazz-loving opera singer

Kristen Choi photographed by Kate Marley.

(Santa Fe, NM) - The first time I encountered mezzo soprano Kristen Choi, she was onstage as Wowkle in The Santa Fe Opera’s 2016 production of La Fanciulla Del West. At the time, I didn’t realize Kristen was an apprentice artist in a principal role. It wasn’t until her second apprentice season that we properly met and became friends, Kristen having some of my fave musical moments (and 80-90s outfits) in the world-premiere of Mason Bates and Mark Campbell’s The (R)evolution of Steve Jobs.

It was a delight to get to know this incredible artist through her Instagram feed and DMs as she worked and traveled across the USA and Europe. In addition to operatic roles, Kristen joined the Lincoln Center Broadway Production of Rodgers and Hammerstein's The King and I as an ensemble member and Lady Thiang understudy; we were thrilled to see her June 20, 2018 performance of this classic in Albuquerque.

I was hopeful that Kristen would be interested in sharing her pop music and opera thoughts because in addition to opera, her Instagram account is my one-stop shop for all things K-pop - the latest hits regularly shared though dance videos of her original choreography (not to mention avid rock climbing, nature, food and family adventures). Authentic storytelling is the key, as you’ll see below. - JM

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By Kristen Choi

(Los Angeles, CA) - “What could opera learn from pop music?” What a simple yet loaded question. Let me begin by introducing my background in music and the journey of my falling in love with opera and then pursuing it as a career.

I was a Disney kid who loved singing along to classic songs from Beauty and the Beast and Aladdin. Popular mainstream music was always on my playlist, too, along with boy bands, Britney Spears, musical theater and jazz in the mix. My musical tastes have always been eclectic, especially since I love dancing; I was no stranger to 90s and 2000s hip-hop.

In truth, I never really listened to classical music recreationally unless it was to help me practice piano or to focus while studying so, understandably, I wasn’t drawn to opera or exposed to it. However, I was always open to it. So when I was fortunate enough to go on school field trips to see an opera, I was always blown away. But opera didn’t really stick until I was older. I’d begun studying classical voice at university, but was still undecided on what career path to take. It wasn’t until I landed the role of Barbarina in a regional production of Le nozze di Figaro that I truly fell down the opera rabbit-hole. Maybe it was the power of Mozart, but something about telling this hilarious story in Italian captured my full and undivided attention. From that point forward, I was hooked. I’d had my “A-ha” moment and finally understood the big deal of this beautiful art form. 

So, what can opera learn from pop?

What it all comes down to is why “pop” music so appealing. As a K-pop fan, why is this genre garnering so much attention globally and in the United States? How did this South Korean Hallyu (South Korean wave) arrive and then go on to sweep the global music market?

I honestly don’t think opera must conform or change itself to sound more like pop. As librettist Mark Campbell said, it doesn’t need to be “accessible” in order to be successful. Pop music is popular music and right now that means an array of eclectic sounds and styles. Further to this point, artists are actively blending genres and styles. Fusion is most definitely “in”.

If fusion is a pop music trend, couldn’t pop music borrow from opera, becoming even more unique and exciting?

Just like when I was growing up, many people aren’t exposed to opera or their idea/impression of the art form, as a whole, is that it’s archaic, traditional, boring and elitist.

I do have a theory as to why K-pop became popular in the USA. One of the biggest K-pop groups is BTS - you’ve probably heard of them because their song “Dynamite” just hit Number One on the Billboard Hot 100, making BTS the first all-South Korean group to achieve this; they’ve pretty much taken over the genre and are a global phenomenon. But how did they achieve this incredible success? Their secret sauce is actually quite simple.

BTS uses their music and art to encourage healing, and to spread a universal message of self-love to people of all ages around the world.

This BTS fan knows that group members are heavily involved in the writing and production of their music, and that they consistently demonstrate how they care about their listeners and fans. Like opera singers, their art is genuine. Their storytelling is also genuine and feels that way, too. So often, it’s this genuine STORY-TELLING that gets lost in translation across so much of today’s popular art and music. BTS is different, though, and it shows up in their success and fan loyalty.

We also connect through stories in opera. The majority of us aren't in this industry just to make money or flaunt musical knowledge and/or our egos. And yes, I understand that not all operatic works tell a great or coherent story (ahem, Handel’s music or some Rossini operas), but the spectacle and virtuosic talent found in these works remain integral to the global, musical firmament.

Whether it’s K-pop, opera, musical theatre or pop music, we all benefit from genuine stories told through song.

Kristen Choi as Suzuki in Lyric Opera of Kansas City’s Madama Butterly (2018).
Photo by Julius Ahn.

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Mezzo-soprano Kristen Choi has been hailed by Opera News as a “powerhouse in the making” for her portrayal of Suzuki in Madama Butterfly. Her 2019-2020 bookings included a house debut in this signature role, with performances at Opera Omaha. Kristen is set to make her Opera Philadelphia house debut in their 2022 production of Puccini’s masterpiece. Recent engagements also included a role and house debut with Opera Maine as the Third Lady in Mozart's The Magic Flute, as well as creating the title role in a brand new production of Murasaki's Moon, a completely new work in partnership with Onsite Opera and the Metropolitan Museum of Art (Wall Street Journal review here). Kristen Choi is represented by Stratagem Artists.

Visit Kristen Choi on Instagram | kristenchoi.com

Parea Virtual Recitals: Contactless Personal Connection In Action

Parea Virtual Recital Series Co-Founders Will Meinert and Emily Misch.

(Santa Fe, NM) - As the pandemic continues to interrupt our ability to gather for live performance, opera singers around the world are actively meeting the moment. Over the last six months, many have applied their energies and imaginations to various virtual initiatives that, in no uncertain terms, pave the way to what could become standard across the performing arts - equally-weighted live and virtual programming running side by side. The Santa Fe Opera’s General Director Robert K. Meya said as much in a recent Associated Press article, highlighting the company’s well-received Songs from Santa Fe virtual opening nights.

Two singers who’ve taken up this digital / virtual challenge are soprano Emily Misch and bass Will Meinert. Based in Herndon, Virginia, Emily was set to be a Glimmerglass Festival young artist this summer, while Will was scheduled for his second season as a Santa Fe Opera apprentice artist. As their summers and lives changed, they began executing an ambitious plan. The results thus far are impressive; as of this writing, the Parea Series format appears to be the only one of its kind online. Viewers are treated to wonderful, longer form recitals with expert guest conversation around a given topic. Parea’s shorter form Instagram promotional videos also deliver maximum interest - and bang - at around three minutes (see below). If you’re seeking classical music entertainment with interesting, connected conversation in uncertain times, look no further. - JM

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By Emily Misch and Will Meinert

How do we maintain personal connection without personal contact? 

As opera singers, my partner Will and I have become experts at nurturing connections over physical distance. Our biggest success story may be our relationship: we met while performing Derrick Wang’s Scalia/Ginsburg together in 2018, then spent most of our first year as a couple on opposite sides of the country in different opera residencies. But we stayed connected.

Musicians get to be very good at this. One of the most maddening but also wonderful aspects of our profession is how we’re constantly traveling and forming new communities. It’s maddening because these communities are physically fleeting—at the end of a production, we generally go our separate ways—but wonderful because the ties we create often grow and strengthen over years of working together in different contexts. 

However, with the current public health crisis, those same ties can feel stretched thin. We no longer have the promise of “see you next season,” because none of us know when we’ll really be back in the theater. As the distance settles in and begins to seem more permanent, how do we nurture these personal connections? 

For Will and me, the answer was to create something new: virtual recitals in a unique format that allows us to look deeply and differently at the music we perform, safely collaborate, and strengthen our connections with musical friends.

In our Parea Series, Will and I perform music and then discuss it with expert Guest Artists in short video interviews. Our full-length recitals put these different perspectives in conversation to create a concentrated fusion of music and discussion available on a “pay what you want” and “watch when you want” basis. No in-person contact is involved in our work; our productions are completely COVID-safe for both audiences and artists. 

We believe that the personal connections involved in making music are just as interesting and important as the music itself, and that these ties bring us closer together, even while we’re physically apart.

CLICK IMAGE TO WATCH: Parea Series’ “Crisis as Catharsis” virtual recital promo and preview via Instagram.

Our Guest Artists are friends and mentors from a wide variety of our musical communities; while it would be rare for these people to all meet in person, our remote format allows us to have deeper conversations with a wider range of perspectives than would be possible at an in-person recital.

In case you’re wondering, we’ve taken our name from the Greek word parea, a concept deeply rooted in Greek culture. Parea suggests that personal connections and lively conversations with circles of friends are meaningful, valuable, and indispensable parts of life. In our work so far, this has proven to be very true. 

In our first recital, we performed music centered around themes of despair and hope, defiance in the face of oppression, and humor—all ways one might seek relief during a maddening and confusing time. We interviewed five of our musical friends: director Alison Moritz, Yale professor Richard Lalli, opera factotum Rob Ainsley, and coaches Vera Danchenko-Stern and Ken Weiss. For our second recital, we’re performing Menotti’s The Telephone, a short comic opera that, at its core, is about the ways that people communicate, connect, and adapt to reach each other. We’re interviewing friends old and new: composer Bruce Adolphe, pianist Anna Betka, baritone Trevor Neal (Artistic Director of Newport Music Festival) and, of course, our director—the phenomenal Audrey Chait, who directed us in that production of Scalia/Ginsburg two years ago!

Although we’re physically separated from our musical communities, our ideas about and passion for the music we perform keeps us in conversation, and deeply connected to each other. With the Parea Series, we invite you to join our circle of friends, and experience the personal connection that music—making it, talking about it, listening to it—can bring.

Visit Emily and Will at Pareaseries.com

Follow Parea Virtual Recital Series on Instagram.

Ascending Arts: Creating Opera's First Group Reiki Experience

Photo: Ascending Arts

(Los Angeles, CA) - Opera Singer. Reiki Master. Innovator. Maria Dominque Lopez is all of these and more. I met Maria in May 2020, two months into the pandemic. Connected by a friend through Instagram, it’s a pleasure to know her, as well as being one of her distance Reiki clients - an experience that opened the door to my own improved mental and spiritual health during these often dark and unprecedented times. It’s for all of these reasons that we were thrilled when Maria agreed to contribute some thoughts and reflections to Opera Innovation. In the blog below, Maria details her initial experiences with Reiki (which she explains and defines in her own terms), a one-of-a-kind approach to operatic performance and how the pandemic led to unexpected personal and professional innovation and growth. - JM

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By Maria Dominique Lopez

In the fall of 2019, I was in a trance-state while meditating. I felt a strong tingling in my palms and when I opened my eyes, I had a vision that a golden stream of healing light shooting out of my hands. The vision ended after a few moments, but the tingling never did. For months, I had no idea what this constant tingling in my hands meant, or why every time I touched someone in pain, their pain went away. After months of research, I decided to take my first Reiki course and I learned that I was already attuned by the universe and somehow had opened my own energy channels for healing. When I received my universal attunement to Reiki last year, I was so awed by the beauty, magic, and possibility of God’s Infinite Universe that singing completely lost its luster for me. 

This is a problem when you’re a professional singer!

It seemed as though I’d found my true calling, feeling more authentically myself than I’d ever felt before. I was a healer, coming into my own, and it had nothing to do with music. I seriously considered quitting singing in favor of starting a full-time Reiki practice, but COVID-19 hit. Now that the opera industry is on life support, the universe made that decision for me—at least for the time being—but I digress. So many friends told me, “you can do both,” and I knew that they were correct. But, I just couldn’t see how I’d still feel authentic making music anymore. It’s no secret that the ratio of work-to-reward is toxically skewed in the music industry. Why put that much of myself into a singing career when the monetary reward is abysmal? The spiritual and emotional rewards so much greater with Reiki?

And then I talked to James Mowdy of Opera Innovation and Jonathan Morgan of DominantArts.Design and they literally changed my entire way of thinking about it. They encouraged me to not just “do both” and keep them separate, but to find unifying thread(s) and MARRY THEM! 

In my Reiki practice, I work a lot on opening and balancing people’s chakras. Chakras are energy centers mapped throughout the body. Fun science fact: the endocrine system is made up of seven pairs of glands (adrenals/suprarenals, testes/ovaries, pancreas, thymus, thyroids/parathyroids, pineal and pituitary), all of which are located in the same areas as the seven main Chakras. Coincidence? I think not!

With our physical eyes, we can see the reality of what’s right in front of us - what is. But with our Third Eye, we can see what’s all around us - what can be. In short, the Third Eye helps us problem-solve.

For those unfamiliar, the Third Eye is the chakra that sits in the middle of our forehead, and it’s considered the seat of wisdom and understanding. We’re not talking about traditional college education or trivia knowledge here, rather, one’s openness to possibilities in a multidimensional universe. With our physical eyes, we see the reality of what’s happening right in front of us - what is. But with our Third Eye, we’re able to see what’s all around us - what can be. In short, the Third Eye helps us problem-solve.

I felt stuck with this dichotomy of Reiki versus music because My Third Eye was completely shut to the possibilities of a union between the two. James and Jonathan each challenged me to ask myself important questions - questions I might not have pondered on my own because I couldn’t see a workable solution. They helped open my Third Eye!

Sometimes, we all need a little help, a push in the right direction. Just because I’m a lightworker doesn’t mean I’m always enlightened! My Third Eye was closed to the greater possibilities, and I couldn’t have seen where this was all going without those nudges. After weeks of meditating and questioning, and hours of conversations with Jonathan about the unifying threads, I arrived at my epiphany.

#SingTheLight

I realized that in order to reinvigorate my love for music, I should infuse it with Reiki. Not only would I channel Reiki to myself, my colleagues, and the immediate performance space, but I’d also channel Reiki directly to audiences, hence Sing the Light. After all, music is transcendent and has the unique ability to touch the soul and soothe the spirit, as does Reiki, just in a different way. So instead of quitting music, I look forward to returning to live performance, and putting #SingTheLight into motion; when a concert goer buys a ticket to hear me sing, they’ll also be receiving group Reiki as an audience member.  

As a Reiki Master, my mission is to help a new generation come to consciousness, ascending to their own universal calling. As an opera singer, I already transport audiences through beautiful music. Through #SingTheLight, my intention is to do both, elevating audiences through music while also helping them reach their next level of ascension, by singing group Reiki healing right into them.

Not only would I channel Reiki to myself, my colleagues, and the immediate performance space, but I’d also channel Reiki directly to audiences. After all, music is transcendent, and it has a unique ability to touch the soul and soothe the spirit, as does Reiki, just in a different way.

#SingTheLight - connecting with audiences on this quantum level - will change the way we experience live opera.

Together, Reiki, music and #SingTheLight will comprise my life practice as Ascending Arts. Personally, this feels like so much more than a new business, company or brand. Ascending Arts is the most authentic expression of who I am as an Artist as well as a Reiki Master, in practice every day. Welcome to Ascending Arts, it’s my honor to hold this space for you.

Visit Ascending Arts on Instagram.

Photo: Ascending Arts

American Opera's 'Innovate or Die' Moment

Photo: Ken Howard | The Santa Fe Opera’s 2016 production of Mozart’s “Don Giovanni” | Set Design: Riccardo Hernandez

By James B. Mowdy

(Santa Fe, NM) - As coronavirus rockets around the planet, billions of us are grappling with a new reality, doing our best to accept the absolute disruption of life as we knew it. As this frightening new normal dawns upon us, we’re realizing that our health security has been questionable for months, and that our ability to gather in public spaces is either curtailed or outlawed, with perhaps more of the same for months or years to come. 

For weeks, we’ve been isolated since no one is safe from the Great Equalizer of COVID-19, an infection with an unknowable prognosis. Some of us might already be infected, suffering mildly or acutely at home or fully asymptomatic. Cooped up, we’ve watched China, South Korea, Italy, Spain, France, the UK, Louisiana, Georgia, South Dakota and New York City explode with infection, with dozens to hundreds to thousands of deaths per day. Hospitals around the world are overtaxed and undersupplied. We’re at war.

Milan’s La Scala closed on February 23rd. The Metropolitan Opera followed suit on March 12th, cancelling all of March’s performances, and then a week later cancelling what remained of the season. Opéra de Paris, LA Opera, San Francisco Opera, The Royal Opera and festivals such as Opera Theatre of Saint Louis, Garsington and Aix en Provence followed, as coronavirus silences live operatic performance around the globe, without any reasonable assurance of safety until a vaccine is found.

And here we are.

Since February, I’ve had in-person, FaceTime, WhatsApp, Twitter and Instagram conversations about how the world’s greatest art form could survive and flourish in the United States, including how it could evolve into a sturdier, more equitable, sustainable and transparent industry that works for all, such as soloists and musicians dealt the cruel blow of force majeure.

Opera Saratoga’s Artistic and General Director Lawrence Edelson was recently interviewed on New York’s Classical WMHT-FM. Discussing Saratoga’s cancellation of its 2019 season, Edelson touched on the challenges opera faces in a dramatically altered performance environment, as well as the need for “proactive thinking.” Citing the immediate benefits of opera’s pivot to online channels, Edelson said that streaming can’t replace live opera performance (mostly agreed on this point). Edelson also raised practical questions, too. How do opera companies enforce social distancing and remain sustainable? How are restrooms, the box office, concessions and intermissions handled? And, perhaps most critically, how do performers and musicians manage close proximity to each other? Mr. Edelson didn’t claim to have answers to these questions, but he’s in the process of bringing fellow opera professionals together for high-level discussions on “how to share the performing arts” now and post-COVID-19.

I was pleased to hear Edelson say that he and his colleagues are “ethically bound to proceed with care“ since opera and classical music audiences typically skew older. Per Edelson: “We’re talking about COVID-19 right now…we’ve been very reactive to (coronavirus) because we’ve been forced to” but “the best way to predict the future is to create it,” paraphrasing a quote by Peter Drucker, the godfather of modern business management. His closing thoughts perfectly distilled the moment. “We are going to have to create a future where there is a wider variety of ways we can enjoy live performance. And I don’t think this means that traditional theatre-going is going to disappear, I certainly hope not because I love it. But I think it would be naïve to believe that the world is not going to change as a result of what we’re living through right now. I’d rather be on the front end of that change than chasing after it from behind.”

Figuratively looking outward from the stage, Mr. Edelson says that opera must reimagine how it engages live audiences. But shouldn’t American opera also spin on its heels to honestly assess, stress-test and reimagine how it works with the armies of creatives building their careers?

I’ve often said that opera singers and classical musicians are the original gig economy. But today’s gig economy hasn’t worked out that well for millions of Americans, even before the pandemic. The “company” person of earlier generations has disappeared; loyalty is limited and ultimately not required because everyone is an independent contractor. Like classical artists, tech professionals often work without job security, jockeying from employer to employer for the best, high-value experience, hopefully trading up to achieve some sense of financial security, a modicum of professional success or renown. As in opera, some in tech become wildly successful, perhaps as a star engineer, founder or major VC. But the similarities mostly end there. Tech professionals generally maintain or improve upon the lifestyle they’ve built, with the freedom to work remotely as needed or desired. Alternatively, and with rare exception, opera singers and classical musicians must be “at the office” to earn their living i.e. performing onstage, in a recording studio or at a special event. They must also continually hone their craft via lessons, practice, and other professional training at their own expense, which could mean additional side gigs just to keep the plates of their careers spinning.

Fortunately, there are US opera companies innovating right now and/or making decisions influenced by brand values and a laudable sense of business ethics. For example, Pittsburgh Festival Opera has reimagined its summer intensive as an “Online Young Artists Program”, utilizing recordings, podcast interviews, social media, and candid videos to maintain its audience until public gatherings are once again possible. It’s also significant to note that Houston Grand Opera, LA Opera, Long Beach Opera and Opera Theatre of St. Louis are compensating staff (with some furloughs), as well as artists to varying degrees, in spite of cancelled seasons and ongoing uncertainty. Concurrently, The AGMA Soloist Coalition, formed in early 2020, is doing an excellent job spotlighting artist-supportive efforts by various American companies, working within the AGMA union to better address concerns and issues specific to soloists, which in turn strengthens their union. The coalition’s arrival couldn’t have come at a better time. As anyone who works in opera or follows the industry knows, there have been critical, and in some cases, recent moments when US companies have operated in a somewhat secretive fashion or exercised a kind of top down decision-making reminiscent of the Hollywood studio system of the 1930-50s.

This is not a hit piece. Rather, it’s an honest look at some of American opera’s business practices and how the now, mostly discarded mantra of “move fast and break things” should be applied to opera, a shock to the system that could ultimately result in a healthier industry. Because shouldn’t American opera want to be known as an equitable workplace? A workplace with new efficiencies, increased employee/contractor/artist loyalty and productivity? Also, as an industry governed by uniform business ethics and transparency, industry-wide innovations to protect and compensate artists, as well as a sense of proactive responsiveness to impending or potential business impacts? All of these could redefine American opera, creating a new kind of 21st century success for the art form.

The AGMA Soloist Coalition’s platform details specific areas where it seeks to improve artists’ collective standing. Two of those areas are:

• Pay Structures

• Manager and Artist Best Practices

Pay Structures

The AGMA Soloist Coalition seeks “ways we can protect ourselves financially in future contracts” while also “implement(ing) changes in the way singers are paid industry-wide.” To say that there’s a bit to explore and improve here is an understatement. Baritone Ryan McKinney, whose artistry I’ve long admired, recently tweeted how it’s important to “support the innovations we are seeing in content being created right now” i.e. during this crisis.

McKinney’s comments were in response to a beautifully distilled thread from tenor and MiddleClassArtist.com’s Zack Finkelstein. Finkelstein was discussing the free streaming of operas as soon as the crisis hit, which I view as a lost opportunity for several companies (more on that soon). Zach’s tweets verbatim:

• “For foreseeable future, online content will be critical to artist business development and revenue. Streaming premium arts productions for free hampers our ability to survive in 6 months. We're giving away the ipad and hoping people buy it later when we need the cash.”

• “By broadcasting the works from the peak of our production capacity before social distancing, we are overpromising and setting ourselves up for failure with audience expectations when we try to charge something. Giving out the 2019 ipad and following it up with the 2012 ipod.”

• “We are stifling innovation by giving away pre-covid entertainment online. How can we promote new work and ask people to pay $9.99 for it while competing with a limitless volume of free, flawlessly produced content? Is there room for new DIY albums in a free Met HD world?”

The obvious and easiest solution to this practice (or problem) is a paywall or digital subscription, something that works beautifully for the Medici.tv platform and app. Director David Paul saw it differently, tweeting that “some of the most successful corporations of our time” have used the free sample model to “awaken an appetite that is then worth paying to satisfy later. People are unemployed, we have the ability to give them joy,” and that this approach could “possibly generate new audiences.”

In my mind, Mr. Paul’s response only reinforced Finkelstein’s argument, so I responded, noting that opera is 1) a high-value luxury product and 2) its performance is a luxury brand experience. Why shouldn’t pay walls or monthly/annual subscription fees exist? Why is there no SAG-AFTRA-like artist residual / royalty mechanism for every download, stream or rebroadcast, based on a standard, industry pay per view model used by every American opera company? Could AGMA institute or manage something of this nature? Is a new, AGMA-affiliated body required?

But Mr. Paul stuck to his argument.

Mr. Paul also thought it was “absurd” to innovate during the pandemic. I disgreed (apologies for the typo).

I don’t know Mr. Paul and certainly have nothing against him, but I can’t think of a better time to begin serious discussions on how to restructure the ways American opera compensates creatives, when its way of doing business is forever changed (why I’m glad the AGMA Soloist Coalition is on the case). Apologies to Mr. Paul, but “down the road” just doesn’t fly. The expectation that artists and musicians can simply hang on for an indeterminate amount of time isn’t workable, all the more so during this crisis. 

Back to the pink elephant in the room. Why does the Mecca of American Opera - a bonafide luxury brand - stream its operas for free, the equivalent of leaving money on the table? What luxury brand does that? To be fair, a $14.99/month on-demand video offer is found just below free streaming content, but why make viewers scroll down to pay for this service when the page leads with content that’s free of charge? A compelling, of the moment call to action for purchase is missing. Ultimately, the decision to give away high-value content devalues this company’s one-of-a-kind, high-value work product, as well as the skills of highly-trained, best-in-world artists and musicians who perform live onstage and in perpetuity via free stream, a stream this company’s national and global audience would certainly purchase, just like MetHD. It’s not rocket science to see how pay wall/subscription fees could directly compensate soloists and musicians who lost their incomes when the remainder of the 2019/20 season was cancelled; many of us would be all the more inclined to purchase a streaming subscription if we knew funds were directly helping artists and musicians. A company-wide fundraising appeal could be added, as well, creating an innovative, almost corporate social responsibility-like initiative as PR campaign, publicly demonstrating The Met’s care and concern for the most critically important individuals in its employ, acting as American opera’s flag bearer, bar none. Of course, this could all still happen, so please feel free to forward this blog vers Lincoln Center!

Opera will continue being performed in this county, but what will it look like? Like the global aviation industry, a new and unknown business environment awaits. As previewed earlier by Mr. Edelson, how can the performance business model remain feasible in the age of social distancing? That factor alone changes the dynamic between audiences and performers. How many small to medium companies will fold? If the business of American opera stays the same, what happens when the next crisis arrives, artists and musicians once again holding an even emptier bag? 

Manager and Artist Best Practices

Mr. Edelson proposed action steps during his interview, many of which dovetail nicely into the AGMA Soloist Coaltion’s action plan regarding Manager and Artist Best Practices:

• The Manager & Artist Best Practices group has been discussing the many issues facing managers and soloists, so we can support each other’s livelihoods as the classical music world rebuilds. We are currently most focused on topics that address immediate concerns in our contracts that have come to light in the midst of the global pandemic.

As the SC takes the lead on advocating and creating change for opera soloists, in concert with the greater AGMA union, the lynchpin dialogue is between soloists and their managers and/or management firms. The more aligned these respective parties become, the more powerful their lobbying abilities will become.

The need for proactive thinking

Mr. Edelson advocated proactive thinking, not reactivity. The SC had already started to think of ways to improve their members’ standing in their industry, prior to the pandemic. My suggestions regarding pay walls, subscriptions, residuals and royalties may not be new, but they should be considered for the benefit of all who work in and profit from opera in the United States. I referenced the Hollywood studio system of the mid-20th century, but perhaps AGMA and the SC could look at today’s Hollywood, the filmmaking industry, unions like SAG-AFTRA and entertainment agencies like CAA, ICM, WME et al to model new structures that compensate and protect artist IP, as well as management firms. When and if these structures come to exist in opera, contracts will evolve to make space for them i.e. business innovation and evolution.

Ethically bound to proceed with care

Bringing opera professionals together

The SC is bringing soloists together to begin working on collective goals with opera companies and their managers, but is this considered a brave or bold move? Are there soloists who are concerned about being associated with this group? Is it considered “activist”? In light of where we are, none of that really matters anymore. Just like Mr. Edelson brainstorms with his opera colleagues, it’s important that the SC and other coalitions in AGMA, as well as other parties across the American opera universe (company leadership, composers, conductors, etc), unify as one to seek common goals that shore up and solidify American opera, institute greater employee/contractor protections and better compensation models. Opera America is already an established, unifying body in American opera. Perhaps OA could become a powerful leader and partner in this effort as well?

Accepting change and leading

Predicting the future by creating it

The SC’s platform and videos already demonstrate a group of talented individuals in full awareness of how their livelihoods are consistently at risk, COVID-19 has only heightened this awareness and acceptance. But this level of acceptance is something everyone who works in opera must find, sooner than not, which includes management, leadership of every American opera company, Opera America and, perhaps most critically, the American opera-going public.

Most movements begin at the grassroots level. The SC is clearly playing that role, but it can’t create lasting change alone. SC’s increased union and management support is key. But US opera’s standard operating procedures will only improve when the opera-going public becomes fully aware of the multiple challenges most artists and musicians face, raising our voice en masse for the “essential workers” of opera, and using our considerable purchasing power and influence to uniformly demand change for the most important people in the room. There will be pain. The meteor of coronavirus will force some companies to shutter. Some might lose their relevancy if they’re unable - or unwilling - to powerfully meet the moment. More nimble organizations could become digital and/or socially-distanced companies or some interesting hybrid of the pre-COVID model and something altogether new, defining opera’s new normal. American Opera 2.0 has already begun its countdown to launch. The trick is not getting left behind.

JM