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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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The Seattle TimesThursday, July 31, 2014
Speight Jenkins recalls 31 years of Seattle Opera highs, lows
Speight Jenkins recalls 31 years of Seattle Opera highs, lows
By Melinda BargreenThe Seattle TimesThursday, July 31, 2014
You can’t run an opera company without a few mishaps and a lot of memorable moments. Seattle Opera’s retiring general director, Speight Jenkins, shares a few of each from his 31 years in the job.
The Wall Street JournalWednesday, July 30, 2014
Metropolitan Opera Considers Mediation in Contract Talks
Metropolitan Opera Considers Mediation in Contract Talks
By Jennifer MaloneyThe Wall Street JournalWednesday, July 30, 2014
The Metropolitan Opera has proposed bringing in a mediator to facilitate talks with two of its unions, a move that labor experts said could delay a lockout that management has threatened for Friday.
New York Classical ReviewWednesday, July 30, 2014
Secret Opera Explores the Lives of Two Famous Women Characters, Uninterrupted
Secret Opera Explores the Lives of Two Famous Women Characters, Uninterrupted
By George GrellaNew York Classical ReviewWednesday, July 30, 2014
The Secret Opera is one of the small, imaginative opera companies rapidly proliferating in New York City. They are nimble, make the most of limited resources, and present talented singers and new works that are outside the physical and financial scope of the Metropolitan Opera. Of these small, peripatetic companies, Secret Opera is one of the smallest. In the tiny Scholes Street Studio in Williamsburg Saturday night, they presented two monodramas by Daniel Felsenfeld, under the title She, After. Starring in each was the charismatic soprano Alexis Rodda, one of Secret Opera’s founding directors.


San Francisco Classical VoiceWednesday, July 30, 2014
Age Before … What Does It Take to Be An Opera Singer?
Age Before … What Does It Take to Be An Opera Singer?
By Molly ColinSan Francisco Classical VoiceWednesday, July 30, 2014
When Talya Lieberman awoke in her parents’ suburban New York City home one cold January morning in 2010, she was at a crossroads. The most logical direction led to work at a Philadelphia sleep research center and adding a Ph.D. in psychology to her degrees in linguistics and music. Lieberman, however, contemplated hanging a big left. Could she, at 25 years old, become a professional opera singer when the competition had seven years on her with training and role experience? She hoped her father's 99-year-old cousin Frances, a voice teacher, could tell her.
A New Frontier Opera Transports 20th Century New York City to Present Day
By StaffSundanceWednesday, July 30, 2014
In October 2013, Joshua Frankel (Director) and Judd Greenstein (Composer) participated in the New Frontier Story Lab with the project Untitled Opera about Robert Moses and Jane Jacobs. This innovative opera explores the epic battles between Jane Jacobs and Robert Moses over the future of New York City. From Jacobs’ victory in stopping Moses’ destruction of Washington Square Park, to Moses’ efforts to build the Lower Manhattan Expressway across SoHo, this work catalyzes an important conversation about what principles and values our generation will use in building, managing and sustaining urban spaces in the 21st Century. It is projected to premiere in 2016.
Digits (WSJ)Wednesday, July 30, 2014
Google (Opera) Glass Makes Debut in Puccini’s Turandot in Italy
Google (Opera) Glass Makes Debut in Puccini’s Turandot in Italy
By Eric SylversDigits (WSJ)Wednesday, July 30, 2014
How do you get young people interested in opera? A better pair of opera glasses, of course. In what is being touted as a first, the opera house in Cagliari, the capital of the Italian island of Sardinia, will have some of its singers and musicians wear Google Glass Wednesday night when they perform Puccini’s Turandot, with the images from the digital devices sent in real time to the organization’s Facebook page.
Regional Affiliate Organization

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
Info@operaamerica.orgDirections
From Airport:
The easiest way to reach the OPERA America offices is to get a cab at the airport. Cost is $40-45
(not including tip).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

From Penn Station/Madison Square Garden:
Leave the station through the 7th Avenue/33rd Street exit and walk south for four blocks. The building is on
the right hand side.

From Grand Central Station:
Take the Train to the 42nd/Times Square station and transfer to the Train.
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

From 42nd Street/Times Square:
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

For more detailed directions, most up-to-date pricing or to specify a different starting location, please visit the
MTA Web site.