The Sounds and Stories of Opera in Sacred Spaces: Audience Expansion
through Sacred Music Drama

by Jon Truitt

The Sacred in Opera (SIO) Initiative, chaired by Casey Robards, provides the National Opera Association (NOA) community with resources and information on the interplay between opera and religious themes. In the 2024 NOA conference session, Robards and other SIO colleagues—Ruth Dobson, Kelley Nassief, Amy Pfrimmer, and Jon Truitt—outlined the initiative's ongoing projects and resources. Jeffrey Springer, Philip Seward, Tammie Huntington also provided research contributions. 

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As the presentation began, Jon Truitt discussed "Opera in Sacred Spaces" and its potential for audience expansion. He emphasized the shared challenges faced by opera producers and sacred institutions, including declining attendance and perceptions that their offerings are outdated or inaccessible to younger audiences. Truitt highlighted how both entities aim to reach new audiences, celebrate beauty, and enrich the community.

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Truitt explained the alignment of missions between opera producers and sacred institutions, noting how sacred spaces can serve as excellent venues due to their acoustics and community engagement. He cited examples like Trinity Church in Wall Street and 2nd Presbyterian in Indianapolis, which incorporate music into their mission to attract and engage new audiences.

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Opera producers can collaborate with sacred institutions by providing talent, resources, or producing events within existing concert series. This partnership benefits both parties, as the institution gains high-quality performances without the burden of production, and opera companies reach new audiences in supportive environments. Examples of successful collaborations include "Opera Goes to Church/Temple" programs by Cincinnati Opera and others, where mixed concerts of opera and worship music are performed in sacred spaces. Additionally, production partnerships, such as “Amahl and the Night Visitors”-type collaborations, allow both parties to share resources and produce operas that suit the liturgical needs of the institution.

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Truitt encouraged flexibility and creativity in these collaborations, noting that opera can be performed without traditional elements like orchestras or scenery. He concluded with the success story of Union Avenue Opera in St. Louis, which grew from a modest production in a church sanctuary to a renowned company offering a full repertoire and becoming an integral part of the local arts community, now in its 30th season. By aligning missions and leveraging the strengths of both opera producers and sacred institutions, these partnerships can create vibrant, accessible cultural experiences that attract diverse audiences and support community enrichment.

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Casey Robards then showcased the potential of community opera productions to bridge cultural gaps and expand audiences. She emphasized that while community musicals are common, operas often seem less accessible due to perceptions of foreign languages and cultural barriers. Yet, despite the dominance of non-English operas, grassroots collaborations can make opera approachable and engaging.

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One notable example is the 2010 production of Amahl and the Night Visitors in Shreve, Ohio, a small farming community with a population of 1,600. Dr. Amy Yekel, then a choir director at Shreve United Methodist Church, organized this production, highlighting how opera can be integrated into local traditions and spaces. Yekel's extensive planning and education efforts were crucial in overcoming stereotypes that opera is elitist, expensive, and irrelevant. Yekel pitched the idea by emphasizing the opera's popularity, English libretto, and manageable length, which aligned with typical worship services. Her strategy included educating the church committee, choir members, and the community about the opera, its composer Gian Carlo Menotti, and its storyline, supported by detailed program notes and educational talks.

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With a modest budget of $1,500, Yekel mobilized volunteer university students for lead roles, utilized local talent for piano accompaniment, and involved church choir members and university faculty in the chorus. Rehearsals spanned four months, featuring private coaching and learning tracks for at-home practice. The production's staging and set were simple but effective, with volunteers contributing significantly to the construction and costume design. The collaborative effort culminated in a performance attended by 200 people, many of whom were first-time opera-goers. The event generated considerable local interest, leading to further opera performances, including Captain Lovelock by John Duke the following summer, and even inspired neighboring churches to consider hosting opera.

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Amy Pfrimmer then delved into the innovative approach of leveraging non-traditional venues for community outreach. This portion of the presentation highlighted both the advantages and challenges of utilizing alternative spaces like churches and restaurants or bars to expand outreach opportunities. Partnering with non-traditional venues presents unique opportunities for outreach. Churches, with their built-in audiences and often underutilized spaces, and bars, with their relaxed atmospheres and diverse patronage, offer fresh platforms for engagement. However, these venues come with their own sets of challenges. For instance, churches often have lighting designed for specific areas, which can complicate stage productions. To mitigate this, general lighting solutions or additional lighting equipment can be brought in. Additionally, the condition of instruments, such as pianos, in these spaces can vary significantly, making it difficult to guarantee high-quality sound. Creative solutions include using keyboards or strategically placing instruments to optimize acoustics.

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Selecting the right repertoire is crucial when establishing relationships with alternative venues. In churches, starting with sacred-themed performances can help build trust, paving the way for more varied programming in the future. Engaging the congregation, perhaps by involving them in the chorus, can strengthen community ties and boost attendance.

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The presentation showcased the effective use of existing lighting and projection equipment in sacred spaces to enhance productions. Creative use of projections and lighting can transform these venues, creating captivating visual experiences that complement the musical performances.

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Bars and pubs present different outreach opportunities and financial models, such as shared ticket revenue. These venues offer a more informal setting, which can attract a diverse audience and create a more relaxed atmosphere for performances.

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A highlight of the presentation was a guide through English language operas with sacred themes. Resources like Carl Gerbrandt’s book, "Sacred Music Drama: The Producer’s Guide," were recommended for comprehensive lists of suitable works. Examples of Christmas-themed operas provided alternatives to the popular Amahl and the Night Visitors, featuring pieces by Seymour Barab, Frank Bridge, Ralph Vaughan Williams, Douglas Moore, and Dominick Argento. Highlighted operas included:

Only a Miracle and Father of the Child by Seymour Barab

The Christmas Rose by Frank Bridge

The First Nowell by Ralph Vaughan Williams

The Greenfield Christmas Tree by Douglas Moore

The Masque of Angels by Dominick Argento

The Gift of the Magi by various composers, including Richard E. Brown and David Conte

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The presentation also recommended short sacred musical dramas such as Song of Simeon by Malcolm Arnold, The Fall of Lucifer by Geoffrey Burgon, and Laud to the Nativity by Ottorino Respighi.

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Attendees were guided to valuable resources for finding suitable operas, including the newly created SIO searchable online database and Carl Gerbrandt’s book. The presentation also highlighted operas featured in the Sacred in Opera newsletter, offering a wealth of information for those interested in exploring this niche.

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Dr. Casey Robards' concluded the presentation, focusing on “Opera Attendance in America" and highlighted the challenges and trends in opera participation over the past four decades, emphasizing the need for innovation and community engagement to revitalize interest in the art form. Quoting a paper by Dr. Amy Yekel, Dr. Robards underscored a significant gap in research related to opera's role and effectiveness in small communities. While there are numerous publications on community theater and company building, resources specific to opera are scarce. Using data from the National Endowment of the Arts' Survey of Public Participation in the Arts, Dr. Robards illustrated the decline in participation across various artistic activities since 1982, with opera attendance notably lagging behind musicals and plays. Opera represented only 16% of classical music participation, with a mere 0.4% of Americans participating—equating to just 40 people per 10,000. Further analysis revealed that musicals were 4-6 times more popular than opera between 1982 and 2008, and about 10 times more popular in recent years. Despite some arts activities remaining steady in participation rates—such as exercise, camping, and video games—others, including opera, saw significant declines. 

The presentation also examined attendance by venue, showing outdoor venues as the most popular, followed by restaurants, bars, and coffee shops. Places of worship attracted a consistent level of participation across all age demographics. The historical data on opera attendance was stark: from 3% in 1982 to just 0.7% in 2022. This 65% decline over 40 years was punctuated by a dramatic 68% drop from 2017 to 2022.

Dr. Robards concluded the presentation by stressing the need for continuous innovation, education, and community involvement in opera. To sustain and grow opera's audience, it is crucial to make the art form more accessible and engaging for both performers and attendees.