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January 30, 2009

Add Connecticut Opera to recession victims

The news just gets bleaker out there. In our area, we've seen the Baltimore Opera file for Chapter 11 and the Baltimore Chamber Orchestra suspend its season. Similar situations are being faced by many arts organizations around the country. Last night, in Hartford, the board of the Connecticut Opera decided to cancel the remaining productions of the season, La boheme and Daughter of the Regiment. When two such popular works are not enough to gurantee ticket sales and patron support, you know things are terribly wrong. Here's some of the statement released by the board:

"Next month will mark the 67th Anniversary of the first performance by Connecticut Opera. Unfortunately, its passing will not be met with great celebration as we must regrettably inform you that Connecticut Opera is the latest victim of the current economic crisis facing our nation ... The decision to cancel the rest of the season is not one that was easily made.

The reality of our situation is that ticket sales for Connecticut Opera in a normal season cover less than 40 percent of the cost of producing the high-quality opera you have grown to expect from us over the past 67 years. This year, however, we are facing enormous economic challenges including a slow down in ticket sales and increased difficulty in raising charitable gifts and sponsorships. This combination has made it financially impossible for us to complete the season ..."

Posted by Tim Smith at 1:26 PM | | Comments (0)
        

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About Tim Smith
I was born in Washington, D.C., and grew up there. Initial thoughts of becoming a cocktail pianist faded when I realized I hated taking requests. I decided to study music history instead, and got a B. A. in that field from Eisenhower College in Seneca Falls, New York, and an M.A. from Occidental College in Los Angeles. After free-lance gigs for the Washington Star and the Washington Post, I worked as classical music critic for the South Florida Sun-Sentinel during the 1980s and '90s, a period when I also ventured into radio, contributing to NPR and hosting a weekly show on a West Palm Beach station. Since April 2000, I've been classical music critic at the Baltimore Sun. Over the years, I've written occasional articles for the New York Times, BBC Music Magazine and other publications, and I'm a longtime, regular contributor to Opera News and the U.K. magazine Opera. You may still be able to find on the remainder racks my one and only book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002).
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