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Arts

NY Opera looks to minority audiences

NEW YORK (Reuters) - Keeping opera alive in the age of the Internet and hip hop is no easy task, so when Donna Walker-Kuhne seeks to convince black Americans to come to a show, she dares not open conversation with the “O” word.

Tracie Luck, who will star in in New York City Opera's production of "Margaret Garner", about the true story of a U.S. slave who was forced to kill her daughter, poses in this undated publicity photo. Keeping opera alive in the age of the Internet and hip hop is no easy task and operas from New York to Los Angeles who are looking to blacks and hispanics for future audiences. REUTERS/New York City Opera/Carol Rosegg/Handout

“If the first thing we say is ‘opera,’ a lot of people are going to just kind of shut down,” arts marketer Walker-Kuhne, who has been cultivating black audiences for the New York City Opera since May, said in an interview.

Next week, New York’s City Opera puts on “Margaret Garner,” which centers on the real 1856 story of an escaped Kentucky slave that inspired Toni Morrison’s novel “Beloved.” When marshals surrounded the cabin Garner had escaped to, she killed her two-year-old daughter and attempted to kill herself rather than return to slavery.

Walker-Kuhne, who is African American, says blacks historically aren’t big opera patrons for a simple reason: “They haven’t been invited. You have to be invited to places, you don’t just barge in.”

As the U.S. population diversifies and live arts compete for audiences with other entertainment forms like movies, gaming and rap, opera houses from New York to Los Angeles are seeking out new communities, working with leaders in other art forms, and discounting tickets to entice new crowds.

“If we don’t do it, the art form will die in this country,” Evans Mirageas, the artistic director of the Cincinnati Opera said in an interview.

Opera must evolve as its potential audience is no longer the almost exclusively white upper-middle class elite crowd it was 50 years ago, he said.

While opera has centered on diverse themes since its start in Italy during the 1600s, it needs to embrace the stories of new faces he sees in the audience, he said.

EUROPEAN SPECTACLE

When she approaches ministers and leaders in black New York neighborhoods like Harlem, Walker-Kuhne is quick to mention that novelist Morrison co-wrote “Margaret Garner.” She also carries brochures with pictures of the powerful Tracie Luck, who plays Garner in the production. “People come right over, they want to see who is this woman.”

On a break during rehearsal, Tazewell Thompson, the director of New York City Opera’s expanded production of “Margaret Garner,” told Reuters that Morrison’s involvement with the work helps open it to black audiences.

“It lifts it up from being just a European spectacle that does not relate to them at all.”

It also assures them that their money will be well spent. “Their priorities are church, family and education,” Thompson said. “When it comes to culture their dollars go first to concerts because they know what they are going to get. Going to the theater, and especially the opera, is a huge risk at the money that is charged.”

A powerful story about slavery can communicate to a black audience “that opera is not about some foreign world across an ocean, but it is a contemporary cultural expression through which we can tell the American story,” said Marc Scorca, president of Opera America, a nonprofit organization.

The strategy has worked. When the Cincinnati Opera ran a production of “Margaret Garner” in 2005 all three nights were sold out -- the company’s first sold-out performances in decades.

In the spring the Los Angeles Opera, where pieces normally run for seven or eight nights, featured 12 nights of George and Ira Gershwin’s “Porgy and Bess,” an opera about black life in South Carolina in the 1930s. It marketed the show heavily in the black media. “It was the perfect opportunity to bring new audiences into the opera house,” said spokesman Gary Murphy.

The Los Angeles Opera also ran its first zarzuela, an opera form that began in Spain and spread to Mexico and Cuba. For both runs, it offered one night when all seats were only $20.

“Oftentimes when new opera goers get to experience the music up close, it turns them into opera lovers for life,” said Murphy.

Next year the Cincinnati Opera will offer “Florencia en el Amazonas,” by Mexican composer Daniel Catan. The piece was inspired by Colombian novelist Gabriel Garcia Marquez’s “Love in the Time of Cholera.” It will be the opera house’s first opera in Spanish.

“It’s a growing population, we want them to feel very welcome as well,” spokeswoman Jennifer Bellin said.

“For any art form to be healthy, for any industry to be healthy, it needs new product,” said Scorca. “Opera needs new product too,” he said.

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