OI Interview | Allison Swenson, Opera Omaha’s New General Director
Allison Swenson
Opera Omaha General Director
(Santa Fe, NM) - We were thrilled when we heard about Allison Swenson’s move to Omaha as General Director, but a little sad, too. Allison’s been an incredible force at Santa Fe Opera for many years, and it’s been wonderful to watch her progress to leading that company’s robust and successful development arm. However, in opera as in any other business, the only way is up. So, this progression to General Director at one of the Midwest’s most important, vibrant and cutting edge small companies is absolutely in line with the professional that we’ve come to know and admire. In the lead up to this Zoom interview, we had the good fortune of an impromptu lunch when we ran into each other at the same Santa Fe restaurant on a sunny, Sunday afternoon - a wonderful way to wish her the best. We think you’ll really enjoy Allison’s take on her new position, local and regional business insights and where she intends to lead her company and community. We think Allison exemplifies everything that’s right with the business of opera, and we’re so honored to have spent this time with her. This Zoom conversation took place on March 16, 2023. JBM
JBM: Now that you're on the job as Opera Omaha's Chief Executive, having just experienced a gala and last month's Suor Angelica performances, let's check in.
AS: It’s been 4 weeks and I came a week before we opened that production of Suor Angelica, and so I was able to be part of the very tail end of the rehearsal process, that includes technical rehearsals and orchestra dresses primarily. So two (2) performances and then our annual gala followed by about a week of what felt like normal administrative office life. And then we began rehearsing the marriage of Figaro (laughing)! It isn’t always the case here in Omaha, that our rehearsal periods are so close to each other, but it just happened to work out that way this year. So, now I'm much more entrenched in rehearsals for The Marriage of Figaro and learning about company processes, more than I was able to do for Suor Angelica, but certainly, I would say that the team working on Figaro is quite experienced, certainly as individuals and the director and conductor have partnered on many prior productions, I'm thinking specifically at Brevard Music Center, where they both hold positions of leadership. Also, they've been in Omaha before, which makes my (onboarding) process just a little bit easier. So, I’m in what I’m calling a listening and learning mode!
JBM: Great to hear, Allison. So, engaging internally and with the public from nearly the get-go. What’s that been like?
AS: That part of the job is pretty familiar to me since I was in an outward facing job in Santa Fe for such a long time. There are departments that are external, which are usually development, marketing, community engagement and departments which are more internal…production, artistic and operations; I’ve worked in an external department for 13 years, so the presentational aspects of the work, the social aspect of the work, the relationship aspect of the work, these are all pretty familiar to me.
JBM: That makes a lot of sense! As we mentioned via email, we were beyond impressed by Opera Omaha’s stated financial transparency on the website, including: “…we are happy to answer any questions you may have about our business practices.” A great best practice, especially in this age of Silicon Valley Bank, Credit Suisse and everything else that's happening in the banking world. It demonstrates, obviously, how important being upfront - and authentic - with your audience, donors, backers is, in terms of how you run your business. Could you please speak to this, in terms that you’re comfortable with?
AS: Of course. I would say that we have spent a good deal of time honing what our values are organizationally. This is in addition to the planning that we do, choosing repertoire and casting singers, hiring directors and conductors, considering what the artistic product will be and developing our community engagement programming, the latter being really robust and central to the work that we do here at Opera Omaha. As I said, there’s been a great deal of discussion, leading up to my appointment, surrounding values; one of our identified core values is “to lead responsibly.” So, I think what you’re seeing online is reflective of our commitment to responsible leadership and what that means to us, which does include financial transparency. Of course, I come from a financial background and so that's a piece that I'm very comfortable talking about i.e. the business model and how opera actually gets made. Not everyone gets as excited about the dollars and cents as they do about the sopranos and the tenors! I always say - and this is from (former Santa Fe Opera General Director) Charles McKay - that we're all here because of the generosity of others. No one is required to buy an opera ticket, that is a choice that people make with their entertainment money, with their pocket money, with their spending money. Also, no one is required to make a donation on top of purchasing an opera ticket…we really only exist because people are opting in, because they're choosing to believe that opera is worthy, that we’re worth their time, attention and resources. As a bit of counterpoint, it’s not a corporate model where we come out of the end of a production with happy investors, as with Broadway. We’re a service-oriented organization that provides (our productions) to the city of Omaha and the greater, extended Omaha community, which also includes Iowa. So, going back to the financial side of things, at least as far as revenue is concerned, so much of it is driven by philanthropy and people who choose to believe that what (Opera Omaha does) is worthwhile and extraordinary.
JBM: Amazing response, Allison. Something did come up while you were speaking. People are making a choice to experience opera. So, I think in many ways, good and bad, the operatic experience could be similar to that of a luxury brand experience, perhaps more accessible or desirable to some people than others, given their choices. Jumping off there, how do you hope to make Opera Omaha an accessible brand, to as many people as possible?
“I’m very comfortable talking about the business model and how opera actually gets made. Not everyone gets as excited about the dollars and cents as they do about the sopranos and the tenors!”
AS: Well, this is a big question. Local and regional interest in opera do factor. How much do Omahans know about opera? The Orpheum Theater in downtown Omaha is our home, the same theatre that traveling Broadway productions use, most of which usually sell out. What we do is not all that different, but we don't have the same financial return. So, the question is how do we effectively communicate to our audience what it's really like to go to the opera? Do people know that when you go to the opera, you'll be able to read the translation in English, so that you will understand what's being communicated on stage? Is that part of it? Do people know how much tickets actually cost or do they just automatically assume that they can't afford it, without ever visiting our website? Do people think it's going to be boring? I think this last question is a biggest hurdle to overcome, that people think opera will be boring. So, it’s absolutely up to us to communicate that it's not and then, in addition to communicating that, we cannot be boring (both laughing)! We need to over-deliver on that brand promise.
JBM: Not to interrupt your thought process here, taking ownership for your messaging, but I’d like to bring up Omaha’s hyper-engaging content, specifically the recent Suor Angelica video – unreal! Narrated in a humorous, understandable fashion by director Keturah Stickann, making it relatable even though the subject matter is historical and ultimately pretty serious. We really thought it broke through and addressed the above, in all honesty. Also, a beautiful response to our question.
AS: I’m so glad to hear that! I think our content is very strong. We’re working on growing our social media following. And specifically regarding our video partner, ONPXL is amazing, we’re so grateful for their work.
JBM: Well, we hope this (interview) helps out on the social media front. Let's talk about what's coming, the floor is open.
AS: We've got the 2023-24 season all planned and cast, which was put in place by my wonderful predecessor, Roger Weitz. I hope I'm not spilling the beans by talking a little bit about Roger's programming philosophy - I don't think I am - but we do three (3) shows per year at The Orpheum Theater. Roger's philosophy was to program one opera that's in the top ten, one that's in the top 100, and one that's in the top 1000. So, you do see that reflected in next year's planning. We open with Don Pasquale, actually the costumes from The Santa Fe Opera, from their production. One thing I like to point out about this opera, as I think about Omaha audiences in particular, is that it's well-suited to families. There is a lot here for people can engage with - I think of the Omaha Zoo, I think about other activities in the city of Omaha that are family-friendly, and I don't know that we always rise to the top of that list. One wouldn’t know, by the titles alone, what operas are suitable for kids, but Don Pasquale certainly is, and that’s the message that I'm getting out, or attempting to get out. Vanessa Becerra is our Marina, she being Susanna right now in our The Marriage of Figaro - absolutely delightful, and so we're pleased to welcome her back in that role. Then we have La Traviata, that's our top ten piece and one of the most performed operas. If you asked me what piece I love the most, of the most popular, I would say La Traviata, so I'm delighted to have this production directed by Lauren Meeker and starring Andriana Churchman in her role debut - a fabulous Canadian soprano who we're also delighted to have. For many, La Traviata is a significant career milestone, and it's also an audience favorite for all the right reasons. One of the great things about Traviata is its pace, which propels the story forward. While some operas, such as those composed by Mozart, may adhere to dated storytelling conventions and a slower pace, Traviata feels like a modern-day movie, with a pace that meets the expectations of a contemporary audience. Moreover, the music is timeless. In early May, we do El último sueño de Frida y Diego, which is a new opera by Gabriela Lena Frank, which premiered in San Diego recently, in 2022. It will have its second outing at San Francisco Opera in June, and we are very hopeful to take a group of people from Omaha to see the production. Certainly, I'll be there to scope it out. Then it goes to LA Opera, and then it comes to us, and so it will be the Midwest premiere of this work, which is about the tumultuous marriage of Diego Rivera and Frida Kahlo, two Mexican artists of great distinction. The story is told through Diego Rivera's perspective, through his memories on the Day of the Dead. This is the first time it's being done in the Midwest; all of the other performances have been on the West Coast, so we're really thrilled to be producing a Spanish-language opera. We’re building a team that is Spanish-speaking, so our conductor, director, stage manager are all fluent, as are all or most of the cast. Spanish can then be spoken freely during the rehearsal process.
JBM: That sounds like an amazing seasons, checking airfares now (both laugh). Regarding the latter opera, we’re excited to hear this. We understand, from a corporate communications perspective, the importance and reach of Spanish-language media in support of Spanish-language events. How are you approaching the communications and community outreach around El último sueño de Frida y Diego?
AS: On a percentage basis, 10 to 15% of Omaha is Spanish speaking. I would have to fact-check myself there, but I think that's about the right breakdown. We're currently talking about Spanish translation of marketing materials and Spanish-translation across social media. We do not approach community partners and say, "We're doing an opera in Spanish, and you're coming, and here's what it looks like." It has long been our model to be collaborative, much in the same way The Santa Fe Opera has long-established relationships with Pueblo communities. We invite participation from all of our community partners in a way that feels authentic and right for them. And it's these relationships that are lasting. We don't consider it advantageous for us to partner with a Spanish-speaking institution just for Frida and Diego, and then move on. Those are partnerships, friendships, that are lasting, and you know, they continue on through your Traviatas, your Pasquales, your Mozarts and your Puccinis. And so, it's relationship growth.
JBM: That’s awesome. Because we should think long-term, in terms of how we go about creating (community) connection. Also, with the understanding that lifelong opera fans might happen in the process. My last question is related to Opera Omaha’s website mission statement, which defines your business and its objectives, providing an indication of how OO will reach them. Alternatively, a vision statement touches on where an organization aspires to go. Speaking to the latter, where is Opera Omaha going?
AS: I think, and this is a very general statement, that I would like to do more. We see so many opera companies that are shrinking. Necessarily, there are so many factors that are currently inhibiting our growth as an industry, but I want to do more. I want to grow and be an increasingly visible presence in Omaha, and a part of what makes the city culturally vibrant. When people come to Omaha, I want Opera Omaha to be on the list of things that they do with their friends and tell visitors to do. I want to be a part of life here that people know about, engage with, and feel comfortable engaging with. My predecessor did such wonderful work elevating the artistic quality of what happens at Opera Omaha. We are doing fabulous productions with amazing teams. I would love for more people to see them. I would love to have more performances. We don't own our own venue, and so we do have limitations in terms of the time that we have in the Orpheum. But, generally speaking, I think in order to become a bigger part of life for an Omahan, we have to be doing more. That's going to take time, and we have to be strategic. Eventually, I will say specifically what I think more means. But for now, I think what we're doing is so special, and I just want more people to see it. Charles McKay kindly came to Omaha for Suor Angelica and he introduced me at our gala. I later heard from several people in Santa Fe that he was very proud of and happy for me, and most importantly, that Suor Angelica was excellent. This last part is the invaluable word (of mouth) that I want to get out, across the country. I can't overemphasize that that the quality of Omaha’s productions is incredibly high.
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Connect with Allison Swenson here.
Follow @OperaOmaha on Instagram. Learn more via OperaOmaha.org.
WATCH: Opera Omaha’s “Legacy” video by Poet Jewel Rodgers.
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