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Negotiating Convention: Pop-Ups and Populism at the San Francisco Opera

Published online by Cambridge University Press:  19 November 2020

MEGAN STEIGERWALD ILLE
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Abstract

Twenty-first-century North American opera houses have attempted to bring in new audiences to make up for a declining and aging population of subscribers through means both traditional and unorthodox. The San Francisco Opera's SF Lab Initiative (2015–2018) was created with such goals in mind. Alternative forms of programming, which I categorize as auxiliary programming, have gained traction as a marketing and aesthetic strategy in recent years, and ultimately signal a dramatic shift in approaches to regional opera production in the United States. While scholars have explored the creation and funding of contemporary operatic productions in the United States, little attention has been given to forms of programming beyond the operatic mainstage. Using interviews with company members and analysis of advertising and reception of the events, I examine the SFO Lab programming as a site of negotiation between operatic convention and experimentation. Based on a populist vision of operatic access, the SF Opera Lab re-contextualized rather than eliminated class and intellectual hierarchies. More broadly, this application of experimental performativity contributes to discourses about Pan-American experimentalism(s) and demonstrates the ways in which a focus on local encounters can yield broad applications for genres and/or scenes beyond opera in the United States.

Type
Research Article
Information
Journal of the Society for American Music , Volume 14 , Issue 4 , November 2020 , pp. 419 - 450
Copyright
Copyright © The Society for American Music 2020

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Footnotes

I wish to thank Gabrielle Cornish and Ryan Ebright for their comments on earlier drafts of this article and the two anonymous readers for their detailed and enthusiastic engagement with my work during the review process. I would also like to thank the many artists, staff members, and other industry professionals who took time to share with me their experiences of auxiliary programming and specifically the San Francisco Opera Lab initiative.

References

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Metcalf, Sasha. “Institutions and Patrons in American Opera: The Reception of Philip Glass, 1976–1992.” PhD diss., University of California at Santa Barbara, 2015.Google Scholar
Monson, Ingrid. “The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse.” Journal of the American Musicological Society 48, no. 3 (Autumn 1995): 396–422.CrossRefGoogle Scholar
Moore, Andrea. “Neoliberalism and the Musical Entrepreneur.” Journal of the Society for American Music 10, no. 1 (2016): 33–53.CrossRefGoogle Scholar
Mylonas, Yiannis, “Amateur Creation and Entrepreneurialism: A Critical Study of Artistic Production in Post-Fordist Structures.” tripleC 10, no. 1 (2012): 1–11.CrossRefGoogle Scholar
Piekut, Benjamin. Experimentalism Otherwise. Berkeley: University of California Press, 2011.CrossRefGoogle Scholar
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Preston, Katherine. Opera on the Road: Traveling Opera Troupes in the United States, 1825–1860. Urbana: University of Illinois Press, 1993.Google Scholar
Preston, Katherine. “Between the Cracks: The Performance of English-Language Opera in Late Nineteenth-Century America.” In “Nineteenth-Century Special Issue,” ed. Katherine Preston and David Nicholls. American Music 21, no. 3 (Autumn 2003): 349–74.CrossRefGoogle Scholar
OPERA America. Opera America Annual Field Report 2017. New York: OPERA America, 2018. https://operaamerica.org/files/oadocs/financials/FY16_AFR.pdf.Google Scholar
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Ritchey, Marianna. “‘Amazing Together’: Mason Bates, Classical Music, and Neoliberal Values.” Music and Politics 9, no. 2 (Summer 2017). http://dx.doi.org/10.3998/mp.9460447.0011.202.Google Scholar
Robin, Will. “Balance Problems: Neoliberalism and New Music in the American University and Ensemble.” Journal of the American Musicological Society 71, no. 3 (Fall 2018): 749–93.CrossRefGoogle Scholar
Robin, Will. “The Rise and Fall of ‘Indie Classical’: Tracing a Controversial Term in Twenty First Century New Music.” Journal of the Society for American Music 12, no. 1 (2018): 55–88.CrossRefGoogle Scholar
Rosenfeld, Jake. What Unions No Longer Do. Cambridge, MA: Harvard University Press, 2014.CrossRefGoogle Scholar
Rubin, Joan Shelley. The Making of Middlebrow Culture. Chapel Hill: University of North Carolina Press, 1992.Google Scholar
Rubin, Joan Shelley. “Reading and Classical Music in Mid-Twentieth-Century America.” In Edinburgh History of Reading: Modern Readers, edited by Hammond, Mary, 206–25. Edinburgh: Edinburgh University Press, 2020.Google Scholar
Rutherford-Johnson, Tim. Music After the Fall: Modern Composition and Culture since 1989. Oakland: University of California Press, 2017.CrossRefGoogle Scholar
Shafaieh, Charles. “Cross-Cultural Hybrids.” Opera America (Spring 2019): 6–7.Google Scholar
Sim, Yi Hong. “Neoliberalism, Neoconservatism, and the Avant-Garde: The Significance of New Music Practice in a Revised Temporality of Class-Based Resistance.” Paper presented at the 2nd Biennial Conference on Musicology and the Present, University of Massachusetts-Amherst, Bezanson Auditorium, September 17–18, 2016.Google Scholar
Steichen, James. “HD Opera: A Love/Hate Story.” Opera Quarterly 27, no. 4 (Autumn 2011): 443–59.CrossRefGoogle Scholar
Steichen, James. “The Metropolitan Opera Goes Public: Peter Gelb and The Institutional Dramaturgy of The Met: Live in HD,” Music and the Moving Image 2, no. 2 (Summer 2009): 24–30.Google Scholar
Steigerwald Ille, Megan. “Bringing Down the House: Situating and Mediating Opera in the Twenty-First Century.” PhD diss., University of Rochester, 2018.Google Scholar
Taylor, Timothy. Music and Capitalism: A History of the Present. Chicago: University of Chicago Press, 2016.CrossRefGoogle Scholar
Thomas, Susan. “Experimental Alternatives: Institutionalism, Avant-Gardism, and Popular Music at the Margins of the Cuban Revolution.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., 49–66. New York: Oxford University Pres, 2018.Google Scholar
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Wiebe, Heather. “A Note from the Guest Editor.” Opera Quarterly 25, nos. 1–2 (Winter–Spring 2009): 3–5.CrossRefGoogle Scholar
Žižek, Slavoj, and Dolar, Mladen, Opera's Second Death. London: Routledge, 2002.Google Scholar
National Public RadioGoogle Scholar
New York TimesGoogle Scholar
Opera AmericaGoogle Scholar
OPERA America Studies and ReportsGoogle Scholar
San Francisco ChronicleGoogle Scholar
San Francisco Classical VoiceGoogle Scholar
San Francisco GateGoogle Scholar
Wallace Foundation Studies and Reports (Wallace Foundation Knowledge Center)Google Scholar
Abbate, Carolyn, and Parker, Roger. A History of Opera. New York: W. W. Norton, 2015.Google Scholar
André, Naomi. Black Opera: History, Power, Engagement. Urbana: University of Illinois Press, 2018.Google Scholar
Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., eds. Experimentalisms in Practice: Music Perspectives from Latin America. New York: Oxford University Press, 2018.CrossRefGoogle Scholar
Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L.. “The Practices of Experimentalism in Latin@ and Latin American Music: An Introduction.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., 1–17. New York: Oxford University Press, 2018.Google Scholar
Buckley, Peter Geo. “To the Opera House: Culture and Society in New York City, 1820–1860.” PhD diss., State University of New York at Stony Brook, 1984.Google Scholar
Canovan, Margaret. “Trust the People!: Populism and the Two Faces of Democracy.” Political Studies 47, no. 1 (1999): 2–16.CrossRefGoogle Scholar
Caplan, Lucy. “High Culture on the Lower Frequencies: African Americans and Opera, 1900–1933.” PhD diss., Yale University, 2019.Google Scholar
Clancy, Brian Carl. “An Architectural History of Grand Opera Houses: Constructing Cultural Identity in Urban America from 1850 to the Great Depression.” PhD diss., New York University, 2005.Google Scholar
Dewar, Andrew Raffo. “Performance, Resistance, and the Sounding of Public Space: Movimento Música Más in Buenos Aires, 1969–1973.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., 279–304. New York: Oxford University Pres, 2018.Google Scholar
Dinerstein, Joel. The Origins of Cool in Postwar America. Chicago: University of Chicago Press, 2017.CrossRefGoogle Scholar
Dobrzynski, Judith H. “Think Opera's Not for You?: Opera Theatre of St. Louis Says Think Again.” The Wallace Foundation Knowledge Center, November 29 2019. https://www.wallacefoundation.org/knowledge-center/pages/think-opera-is-not-for-you-opera-theatre-of-saint-louis-says-think-again.aspx.Google Scholar
Drott, Eric. “The End(s) of Genre.” Journal of Music Theory 57, no. 1 (April 2013): 1–45.CrossRefGoogle Scholar
Eidsheim, Nina. Sensing Sound: Singing and Listening as Vibrational Practice. Durham, NC: Duke University Press, 2015.CrossRefGoogle Scholar
Fleeger, Jennifer. Sounding American: Hollywood, Opera, and Jazz. New York: Oxford University Press, 2014.CrossRefGoogle Scholar
Gereben, Janobos. “Changes and Cutbacks at S. F. Opera Eliminate Some Top Positions.” San Francisco Classical Voice, March 7, 2019. https://www.sfcv.org/music-news/changes-and-cutbacks-at-sf-opera-eliminate-some-top-positions.Google Scholar
Gereben, Janos. “San Francisco Opera Ponders the Future.” San Francisco Classical Voice, April 5, 2019. https://www.sfcv.org/music-news/san-francisco-opera-ponders-the-future.Google Scholar
Goldmark, Daniel. Tunes for ’Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press, 2005.Google Scholar
Hall, Stuart. “What Is This ‘Black’ in Black Popular Culture?” Social Justice 20, no. 1 (Spring Summer 1993): 104–14.Google Scholar
Hamberlin, Larry. Tin-Pan Opera: Operatic Novelty Songs in the Ragtime Era. Oxford: Oxford University Press, 2011.CrossRefGoogle Scholar
Harvie, Jen. Fair Play: Art, Performance, and Neoliberalism. London: Palgrave Macmillan, 2013.CrossRefGoogle Scholar
Herrera, Eduardo. “‘That's Not Something to Show in a Concert’: Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., 19–48. New York: Oxford University Press, 2018.Google Scholar
Hoyt, David, and Sutton, Robert L.. “What Design Thinking is Doing for the San Francisco Opera.” Harvard Business Review, June 3, 2016. https://hbr.org/2016/06/what-design-thinking-is-doing-for-the-san-francisco-opera.Google Scholar
James, Robin. Resilience and Melancholy: Pop Music, Feminism, Neoliberalism. Winchester: Zero Books, 2015.Google Scholar
Johnson-Rutherford, Tim. Music after the Fall: Modern Composition and Culture since 1989. Oakland: University of California Press, 2017.CrossRefGoogle Scholar
Latham, Clara. “How Many Voices Can She Have?: Destabilizing Desire and Identification in American Lulu.” Opera Quarterly 33, nos. 3–4 (Summer–Autumn 2017): 303–18.CrossRefGoogle Scholar
Levin, David. “Opera Out of Performance: Verdi's Macbeth at San Francisco Opera.” In “Performance Studies and Opera.” Special issue. Cambridge Opera Journal 16, no. 3 (November 2004): 249–67.CrossRefGoogle Scholar
Levine, Lawrence. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Lewis, George. A Power Stronger Than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press, 2009.Google Scholar
Locke, Ralph P. “Music Lovers, Patrons, and the ‘Sacralization’ of Culture in America.” 19th Century Music 17, no, 2 (Autumn 1993): 149–73.CrossRefGoogle Scholar
McConachie, Bruce A. “New York Operagoing, 1825–50: Creating an Elite Social Ritual.” American Music 6, no. 2 (Summer 1988): 181–92.CrossRefGoogle Scholar
Metcalf, Sasha. “Funding ‘Opera for the 80s and Beyond’: The Role of Impresarios in Creating a New American Repertoire.” American Music 35, no. 1 (Spring 2017): 7–28.CrossRefGoogle Scholar
Metcalf, Sasha. “Institutions and Patrons in American Opera: The Reception of Philip Glass, 1976–1992.” PhD diss., University of California at Santa Barbara, 2015.Google Scholar
Monson, Ingrid. “The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse.” Journal of the American Musicological Society 48, no. 3 (Autumn 1995): 396–422.CrossRefGoogle Scholar
Moore, Andrea. “Neoliberalism and the Musical Entrepreneur.” Journal of the Society for American Music 10, no. 1 (2016): 33–53.CrossRefGoogle Scholar
Mylonas, Yiannis, “Amateur Creation and Entrepreneurialism: A Critical Study of Artistic Production in Post-Fordist Structures.” tripleC 10, no. 1 (2012): 1–11.CrossRefGoogle Scholar
Piekut, Benjamin. Experimentalism Otherwise. Berkeley: University of California Press, 2011.CrossRefGoogle Scholar
Preston, Katherine. Opera for the People: English-Language Opera and Women Managers in Late 19th-Century America. New York: Oxford University Press, 2017.CrossRefGoogle Scholar
Preston, Katherine. Opera on the Road: Traveling Opera Troupes in the United States, 1825–1860. Urbana: University of Illinois Press, 1993.Google Scholar
Preston, Katherine. “Between the Cracks: The Performance of English-Language Opera in Late Nineteenth-Century America.” In “Nineteenth-Century Special Issue,” ed. Katherine Preston and David Nicholls. American Music 21, no. 3 (Autumn 2003): 349–74.CrossRefGoogle Scholar
OPERA America. Opera America Annual Field Report 2017. New York: OPERA America, 2018. https://operaamerica.org/files/oadocs/financials/FY16_AFR.pdf.Google Scholar
Ritchey, Marianna. Composing Capital: Classical Music in the Neoliberal Era. Chicago: University of Chicago Press, 2019.CrossRefGoogle Scholar
Ritchey, Marianna. “‘Amazing Together’: Mason Bates, Classical Music, and Neoliberal Values.” Music and Politics 9, no. 2 (Summer 2017). http://dx.doi.org/10.3998/mp.9460447.0011.202.Google Scholar
Robin, Will. “Balance Problems: Neoliberalism and New Music in the American University and Ensemble.” Journal of the American Musicological Society 71, no. 3 (Fall 2018): 749–93.CrossRefGoogle Scholar
Robin, Will. “The Rise and Fall of ‘Indie Classical’: Tracing a Controversial Term in Twenty First Century New Music.” Journal of the Society for American Music 12, no. 1 (2018): 55–88.CrossRefGoogle Scholar
Rosenfeld, Jake. What Unions No Longer Do. Cambridge, MA: Harvard University Press, 2014.CrossRefGoogle Scholar
Rubin, Joan Shelley. The Making of Middlebrow Culture. Chapel Hill: University of North Carolina Press, 1992.Google Scholar
Rubin, Joan Shelley. “Reading and Classical Music in Mid-Twentieth-Century America.” In Edinburgh History of Reading: Modern Readers, edited by Hammond, Mary, 206–25. Edinburgh: Edinburgh University Press, 2020.Google Scholar
Rutherford-Johnson, Tim. Music After the Fall: Modern Composition and Culture since 1989. Oakland: University of California Press, 2017.CrossRefGoogle Scholar
Shafaieh, Charles. “Cross-Cultural Hybrids.” Opera America (Spring 2019): 6–7.Google Scholar
Sim, Yi Hong. “Neoliberalism, Neoconservatism, and the Avant-Garde: The Significance of New Music Practice in a Revised Temporality of Class-Based Resistance.” Paper presented at the 2nd Biennial Conference on Musicology and the Present, University of Massachusetts-Amherst, Bezanson Auditorium, September 17–18, 2016.Google Scholar
Steichen, James. “HD Opera: A Love/Hate Story.” Opera Quarterly 27, no. 4 (Autumn 2011): 443–59.CrossRefGoogle Scholar
Steichen, James. “The Metropolitan Opera Goes Public: Peter Gelb and The Institutional Dramaturgy of The Met: Live in HD,” Music and the Moving Image 2, no. 2 (Summer 2009): 24–30.Google Scholar
Steigerwald Ille, Megan. “Bringing Down the House: Situating and Mediating Opera in the Twenty-First Century.” PhD diss., University of Rochester, 2018.Google Scholar
Taylor, Timothy. Music and Capitalism: A History of the Present. Chicago: University of Chicago Press, 2016.CrossRefGoogle Scholar
Thomas, Susan. “Experimental Alternatives: Institutionalism, Avant-Gardism, and Popular Music at the Margins of the Cuban Revolution.” In Experimentalisms in Practice: Music Perspectives from Latin America, edited by Alonso-Minutti, Ana R., Herrera, Eduardo, and Madrid, Alejandro L., 49–66. New York: Oxford University Pres, 2018.Google Scholar
Whiting, Sam. “Around SF's Arts Scene, the State of the Unions is Strong.” San Francisco Chronicle, September 5, 2016. https://www.sfchronicle.com/performance/article/Around-SF-s-arts-scene-the-state-of-the-unions-9203030.php.Google Scholar
Wiebe, Heather. “A Note from the Guest Editor.” Opera Quarterly 25, nos. 1–2 (Winter–Spring 2009): 3–5.CrossRefGoogle Scholar
Žižek, Slavoj, and Dolar, Mladen, Opera's Second Death. London: Routledge, 2002.Google Scholar