How Social Media and Streaming Platforms are Changing the Landscape
Introduction
In the late 1900s, the dot-com bubble expanded when investors and a thriving venture capitalist funding system poured money into internet and technology companies in a frenzy to commence a revolutionary profit margin within the field. The dot-com bubble inspired social networking services such as Six Degrees, Friendster, Myspace, and Facebook, allowing their users to communicate with other users from all parts of the world on a personal level. Technology advancements led to a social media boom and introduced Instagram, Snapchat, YouTube, Spotify, Zoom, Twitter, and TikTok to the consumer forefront. An evergrowing landscape of social media platforms has unquestionably influenced music and entertainment.
Performance and recognition alternatives have drastically changed in recent decades due to advanced technology and as a marketing tactic to reach broader audiences and expand viewership. These efforts are accompanied by positive and negative outcomes that are not widely discussed. Many complaints about opera focus on steep ticket pricing and the stance to cater to the elite, ultimately creating an unwelcoming atmosphere for those not subscribed to those classes. As the Baby Boomer generation phases out, opera is frantically looking for valuable resources to attract younger audiences. Singers and instrumentalists have joined in on saving the art form to reach newer and younger audiences by entering various social media platforms while participating in virtual performances. As a result, the typical path to opera success has transformed tremendously.
Streaming
In June 1993, the band Severe Tire Damage was the first band to perform live on the internet. Their exquisite opportunity opened the doors for other streamlining platforms to launch and ultimately changed the scope of entertainment. In 2005, YouTube entered the streaming space and today has grown to over 2 billion users. Opera companies and singers have taken advantage of YouTube’s reachability by posting behind-the-scenes vlogs, performances, career and singing advice, and more. In 2020, Aida Garifullina, one of the most desired sopranos, posted an in-depth video showcasing the highs and lows of having a demanding opera career. The video is in vlog form where a camera follows her around an intensive seven-day trip to China with two performances. Many shots feature her speaking to the camera about the positives and negatives of traveling, loneliness, performance anxiety, cultural differences, and the importance of strong relationships. It’s a fascinating video highlighting the parts of entrepreneurship not widely shown by highly successful individuals. Additionally, in 2021, Ms. Garifullina became the first opera star to reach one million followers on Instagram and currently holds the top position with 2 million followers, marking a new milestone.
During the pandemic, Seattle Opera depended on their creative staff to find ways to keep performances going despite global shutdowns. Their team decided to work with their production schedule and shift all live performances to streaming. They were one of the first to keep their 2020/2021 season while many other opera houses shut down completely. According to Seattle Opera’s General Director, Christina Scheppelmann, their ultimate goal during the shutdown was to keep artists and staff employed and use this opportunity to creatively bring the arts to a larger and newer audience. According to their data, audience participation has generated new levels of interest during the digital content transition. From the same company, Stage Director, David Gately, described the excitement of performing and filming The Elixir of Love during the pandemic. For this unconventional production, singers and stage performers were able to utilize retakes and challenge their acting skills in new ways with the introduction of multiple cameras for a wider range of angles. This would result in a stimulating viewing experience in the final production.
A number of opera houses, singers, and artistic staff are taking advantage of digital platforms and launching projects in hopes of building relationships with a younger generation and spreading music education. In 2006, Peter Gelb, the General Manager at The Metropolitan Opera, launched Live in HD as a new audience development project. Live in HD is a live-streaming event of operas produced at the Met and can be viewed in select cinemas and on the Met’s website. Since broadcasted, Live in HD has generated incredible viewership and profit results bringing in $60 million in yearly revenue and selling over 30 million tickets to theatergoers. Considering Live in HD’s profit makes 12% of the company’s total profit, their goal of reaching new audiences on a wider scale has proven successful. It’s also given newer opportunities for opera stars as they are often asked to host and/or give insights into their characters and the opera in between live scenes.
Masterclasses, Podcasts, & OperaVision
During the pandemic, many professional singers utilized communication technologies such as Zoom and offered online masterclasses live-streamed for public viewing. American soprano Lisette Oropesa and American tenor Michael Fabiano offered masterclasses to young and professional singers for a fee. Technique and artistic advice were offered and recorded for all performers to have on record. The masterclasses provided a unique opportunity for both teachers and students to enhance their careers despite global shutdowns.
Finally, the emergence of classical podcasts has surged as the appeal to generate new fans remains vibrant. In November 2018, The Met launched Aria Code, hosted by soprano Rhiannon Giddens. Aria Code dissects various arias from the perspective of professional singers. In 2021, Opera Columbus (OC) launched Opera-isms, hosted by OC's CEO Julia Noulin-Mérat. The episodes cover a variety of topics from OC news and updates, to performances, and opera vocabulary. Finally, OperaVision is a large streaming platform organization supported by the European Union’s Creative Europe Programme. They offer free performance streaming services in addition to a podcast that follows the career journeys of opera professionals. Since its launch, OperaVision has partnered with 75 different opera companies and received a 2 million euro grant over 3 years from the Creative Europe Programme (CREA). In 2022, OperaVision Next Generation (OVNG) was launched to address and find solutions to the damage and negative effects the pandemic had on the arts. According to their data, they have garnered 10 million views across their social platforms within 8 months after OVNG launched. Their successes sparked conversations regarding the challenges and triumphs of the arts. In November 2022, 100 Opera Europa members met in Amsterdam to discuss the future of opera within the digital space and inquiries regarding the issues within opera, contracts, and digital streaming. These are a small sample of projects launched by opera professionals with a focus on digital presence. There are many other projects with similar motives and accomplishments in the operatic field.
Key Takeaways
The positives of successfully launching a project using digital software as a means to increase viewership has proven advantageous. However, with all new projects come setbacks, complications, and risks. Unfortunately, many of the details involving risk management, profit loss, and contractual issues are often left out of public conversation. As a project manager with contractual redlining experience who values risk mitigation, I have put together a list of topics I would personally inquire about when entering a new digital space in a contract with a company.
The first topic of discussion would be the contractual differences between partnering with an opera house without streaming services versus one that offers both. If the opera company presenting the contract is profiting or has the potential to gain profit from new and/or upcoming digital performances, a discussion of how compensation is paid to the performers should be mandatory. The exploitation of agreements is common and should be understood and negotiated. The second topic of concern would be the added workload professionals are presented with now that digital platforms have expanded and continue to advance. The amount of pressure to learn roles in foreign languages and perform to large audiences is unbelievably high. Keeping up with social media platforms, marketing, promotions, video editing, and posts is a job in itself. The time invested in these activities often results in unpaid services with the potential for job opportunities. Comprehension of job demands in the present and foreseeable future is of vital importance considering the increase in work burnout. The last issue I will address involves copyrights and ownership laws. Digital streaming has made great strides within the last two decades and performers have the opportunity to reach audiences in unmatched numbers with the help of communication technology. This technology phenomenon also includes the complicated factor of licensing, ownership, and distribution in previously unrecognizable aspects. There are greater risks of digital fraudulence, misuse, criticism, and exploitation. I will assume the majority of contracts do not discuss in detail these potential risk factors, the licensing/owners' responsibility and actionable resolutions in said risk situations, and the compensation should any issues arise. Unfortunately, due to the saturation within the classical performing field in addition to minimal opportunities, many performers will take job opportunities despite any concerns they may have or were absent-minded of. A prime example is my contractual agreement with YouTube. There are many contractual sections I do not agree with but proceeded, understanding all potential risks. It is an internal conversation I have periodically when working with YouTube and may or may not influence my future endeavors on the platform as it has with millions of other content creators.
Active Performers' Perspectives
I will conclude this blog with three quotes from active classical singers and an audience development specialist explaining how social media has influenced their careers in positive and negative ways.
“As a singer who has multiple networks of colleagues and patrons that support my work, social media has been an indispensable tool in publicizing upcoming performances, sharing new recordings, new gig updates, and more. It allows me to essentially be in many places without being there and keep so many more people abreast with the click of one button. It makes me more accessible as an artist, which then extends the realm of my impact.”
Wilford Kelly, bass-baritone, San Francisco Opera Chorus
“Social media has been instrumental in the success of The Dallas Opera’s highly inclusive under 45 program, Crescendo! By showcasing its accessible benefits like discounted tickets and behind-the-scenes access, our campaigns have attracted over 300 members in just two years, with 65% being first-time attendees.”
Malikha Mayes, soprano, Audience Development Officer, Dallas Opera
“Social media has affected me in several ways. Firstly, it's made it easier to see all of my favorite artists performing at top opera houses all over the world. Without these videos, I might never be able to afford to go see this caliber of opera performances. It’s usually only short clips online, but it helps me see how the artist emotes and can help inform my acting choices. Also, many famous opera singers give tips and exercises on their accounts. Alternatively, If you are already feeling insecure about your singing logging into social media and watching others for comparison is about the worst thing you can do for yourself. Especially if you are looking at your colleagues' paths and become jealous of whatever opportunities they may have. About 90% of the gigs I have scored locally were all through word of mouth and through my connections; not from auditioning. Speaking of connections, social media has given me the power to make friends with opera singers from all over the world. My social network has expanded because of social media. People I have never met in person but I've grown a relationship with online will send me info about gigs and programs in Germany, or contacts for coaches they’ve used in Germany. I believe the door swings both ways and I am always willing to give people advice who reach out to me too. Connections are everything in this industry and I believe if you use social media smartly, you can foster beautiful relationships. Don’t get me wrong, being “seen” on social media can be exhausting. Thinking of content to post and keeping your following engaged by posting frequently is difficult. It is a lot of pressure especially if you are hoping to get paid through social media. But I think in this day and age having a social media presence is a must. Some opera houses may ask how many IG followers you have. From a business perspective, if you have a large following and post about an upcoming production with a certain opera house, chances are your fans will be motivated to come out and pay to watch you perform. The opera houses know this could potentially help them sell more seats. I'm unsure if all opera houses do this or how they make their decisions to cast with this information. But I’ve heard from singer friends that they have been asked this question before on an audition form.”
Leah Torres, American mezzo-soprano, Florida
Sources
Angel Blue on Using Social Media to Support Young Opera Singers
Strings Magazine: How TV and Streaming Services Can Co-Exist to Serve More Classical Music Lovers
Opera Wire: How Opera Companies Can Use Streaming to Engage Teenage Audiences
Opera singer shares personal experience of depression and encourages others to seek help
Renée Fleming uses her soprano to amplify the healing power of music
How New Media Got New Audiences at Seattle Opera, With Wallace Support
NOW AVAILABLE AT SEATTLE OPERA: 'SINGLE TICKETS' FOR STREAMING PERFORMANCES
Jessica:
I know you reacted to a video of Patricia Janečková once, after she died at only 25 of breast cancer last October 1. Because she died so young, Pati never had the time or means to sing in the great opera houses. She also made only one complete album (self-titled, half-opera, half-crossover) and provided the remainder of her output by guest appearances on others' albums (mostly crossover) and on the soundtrack to the movie Chevalier. However, of course she did have plenty of time to sing in front of orchestras and post her concert appearances on YouTube. I'm honoring her legacy by trying to test a hypothesis. If the quality of the singing and acting of a concert performance…