OI Interview | David Lomeli, Bolero Tech CEO
Bolero Tech CEO David Lomeli | Opera Latino America Conference, Manaus, Amazonas, Brazil (May 17, 2023).
(Santa Fe, NM) - Opera Innovation profiled David Lomeli just before he began his tenure as Santa Fe Opera’s Chief Artistic Officer. In the years and seasons since, David continues to drive artistic endeavors for Santa Fe Opera, The Dallas Opera, Bayerische Staatsoper, and Operalia, but for his own startup businesses, too: Bolero Tech and the Vincerò Competition, respectively. In late April, we met David at Santa Fe’s famed Inn at the Loretto, for a wide-ranging discussion on the problems Bolero’s technology solves, new partnerships in the Americas, the future of opera and a game-changing algorithm. JBM
JBM: Okay, let's start with question one. Can you tell us about Bolero? Give us the mini pitch, origin story, and the problem or challenge that Bolero addresses or solves.
David: Absolutely. Well, Bolero is a company that currently focuses on influencer management and offers a range of digital marketing agency services. But our story begins during the pandemic when Bolero’s three, original founder - myself, Annie Penner, and Danny Goldman - were working in The Dallas Opera’s artistic department. Danny played the clarinet in the orchestra, and all three of us had backgrounds in social media and design. I'm actually a computer science engineer. When the pandemic hit, we took charge of TDO’s social media accounts. But what most people don't know is that Danny and I came up with an algorithm that revolutionizes advertising spending. With our algorithm, we could get almost 90% more views on platforms like Facebook, Instagram, and Google compared to traditional methods, while spending significantly less. We've also invested heavily in data plans and gathered specific CRM data to target niche markets effectively. So, in a way, we're not exactly competing with the traditional marketing mega agencies in classical music.
Ultimately, we arrived at 46 different The Dallas Opera Network series, with multiple episodes, creating a massive collection of content. People often don't realize the amount of investment required in social media, including salaries and what it takes to effectively connect with audiences. It was here that Bolero was really born, leveraging our one of a kind algorithm to maximize ad spend efficiency. From this vantage point, we built a marketing agency that understands how to go viral, edit content, and connect with the classical music audience, specifically targeting the age 22 to 33 age group. Our TDON creative content garnered millions of views at low cost, creating various avenues for different classical media companies. However, we did go through some transitions, with Annie moving to Atlanta for a job with The Atlanta Opera and an expansion into non-classical music sectors as the pandemic forced everyone to adapt. However, we’re coming back to our roots, driven to create profitability and visibility for opera brands; our goal is to strategically and scientifically amplify the (brand) voices of opera, using some pretty ingenious methods to gather information, utilizing robust databases that track the behavior of online classical music consumers. Essentially, we're a team of classical music artists, creative sellers, and computer science engineers, this sets Bolero very much apart.
JBM: That's impressive! So, you offer a unique approach that helps musicians and organizations optimize their advertising and reach their audience more effectively. Can you tell us a bit more about the specific advantages of using Bolero compared to traditional marketing agencies in the industry?
David: Unlike traditional marketing agencies that often create a handful of posters or collateral pieces for a campaign, we have a more extensive network and approach. This gives us a multitude of access points and content to work with. Let's take the example of a symphony that hires a marketing agency for a given campaign. They might create a few visuals and run it for one or two operas throughout the year. But with Bolero, we offer much more. We can leverage our vast library of content to create engaging and diverse campaigns for multiple operas, giving our clients a broader reach and more opportunities for success.
David: Exactly! You've summarized it perfectly. We have a deep understanding of both the artistic and technical aspects, which gives us a unique perspective and allows us to provide effective solutions. Our aim is to harness the vast potential of classical music and increase its profitability and visibility in a world where significant financial transactions occur within the opera industry, even if they often go unnoticed. We want to strategically bring the benefits we've seen in the for-profit sectors to opera and utilize our scientific methodologies to make a lasting impact. Over the past four years, we've been diligently collecting data on classical music consumers, both those who engage online and those who purchase tickets. This wealth of information enables us to tailor our strategies and offerings accordingly.
JBM: Sounds like a game-changer for the classical music industry. You mentioned earlier that Bolero also incorporates influencer management. How does that aspect fit into your overall strategy, and how do you navigate the ever-evolving world of social media influencers?
David: Influencer management is also integral part of our strategy. We understand the power and reach that influencers have on social media platforms. By partnering with relevant influencers in the classical music space, we can tap into their audience and create authentic connections. We carefully select influencers who align with the values and aesthetics of our clients and collaborate with them to promote upcoming performances, events, or releases. We stay up-to-date with the evolving landscape of influencers and continuously assess their impact to ensure our clients receive the best possible exposure and engagement.
JBM: It's evident that Bolero has a well-rounded approach, combining artistry, technology, and data-driven insights. With your unique blend of expertise, you seem poised to make a substantial contribution to the classical music industry. As you continue to move forward, what are some of the key aspirations and goals you have for Bolero?
David: Thank you for recognizing our approach. Moving forward, our aspirations for Bolero are multifaceted. Firstly, we want to expand our presence within the classical music realm, strengthening our partnerships with orchestras, opera companies, and other organizations to drive their success through innovative marketing strategies. Additionally, we're committed to fostering collaborations with non-classical music sectors, leveraging our expertise and algorithm to benefit a broader range of clients. We also strive to contribute to the greater visibility and accessibility of classical music, making it more engaging for younger generations and cultivating a vibrant community of music enthusiasts. Ultimately, our goal is to leave a lasting impact on the industry and be at the forefront of transforming how classical music is marketed and enjoyed in the digital age, further enhancing our algorithm, leveraging artificial intelligence to continuously optimize advertising strategies and deliver even better results for our clients. Our ultimate goal is to revolutionize the way digital marketing is done in the arts and cultural sector.
JBM: Wow, beyond amazing! And a perfect segue to what Bolero is doing in Manaus, Brazil next month. As a presenting sponsor for the 23rd Opera Latino America Conference, we recognize this as a pretty bold move for Bolero. Congratulations! I'm curious, what are your goals for this conference in terms of supporting opera in the Americas and marketing bolero? I assume you're aiming to create brand recognition not only at the event but also beyond? Can you share your thoughts on that?
“In the European and Anglo-Saxon markets, we don't often see companies from Latin America promoting their reels or content as much. But with the increasing importance of diversity and a desire for international engagement, the Latin American opera community shouldn't be overlooked.” - David Lomeli, Bolero Tech CEO
DL: Absolutely! We saw this conference as an opportunity to make a powerful statement and reintroduce ourselves to the world of classical music (after the pandemic). We wanted to differentiate ourselves from typical agencies that mainly focus on public relations for singers or specific projects. This was a chance to make a big entrance into the market. Latin America seemed like an ideal choice because it's a region where there's a lot of creative energy and competition, especially in the realm of social media. We noticed that many talented Latin American artists were producing incredible content, like amazing reels, but they lacked the global fanbase and exposure. Since much of their work is in Spanish, it doesn't circulate as widely in the usual opera channels. However, the Latin American opera market is significant, estimated at around $500 million. We recognized the potential win there.
In the European and Anglo-Saxon markets, we don't often see companies from Latin America promoting their reels or content as much. But with the increasing importance of diversity and a desire for international engagement, the Latin American opera community shouldn't be overlooked. We seldom collaborate or audition artists from that region, and it has become more expensive for them to come to us or for us to go there. We wondered how we could do something meaningful in this context. My approach has always been about finding ways to make an impact. And every time I delve into it, there are multiple layers to consider.
So, yes, we will be attending the conference as a form of representation (for Santa Fe Opera), showcasing the co-productions we have in the marketplace. It's an opportunity to say, "Hey, let's work together! I understand your language and culture, and together we can make a bigger impact." But we also want to go beyond that. As part of our OLA sponsorship, we aim to expose (Bolero Tech) to Latin American companies, general directors, and individuals attending the event, hopefully expanding our footprint in the Latin American opera market.
To be honest, our involvement in Latin America hasn't been extensive thus far. We've worked on a few projects with organizations in México, but what we do is more of an institutional expense. It's not your typical social media management. Our focus is on changing perceptions and storytelling. A prime example of this is the Bolero algorithm. Through my personal profiles, I've managed to monetize my Instagram alone to a six-figure level, without even having a YouTube channel. The storytelling and the algorithmic boosts we apply have transformed how people perceive me professionally and what I do. We consistently apply this approach to brands, as well.
So, when it comes to opera in the Americas, our goal is to amplify their respective voices. While attending the conference, we'll collaborate with Latin American artists and organizations to create content together. This content will also benefit from our algorithmic boost, reaching a broader audience. For the next two months, you'll see a significant increase in Latin American opera content, thanks to our sponsorship and collaboration.
It's impressive to learn that there are over 20 theaters in the region with the caliber and resources to collaborate with opera companies worldwide. Creating more awareness around this work is crucial. In fact, I was recently discussing this with Zachary Wolfe from The New York Times, and he expressed great interest in learning more about it. Latin America has produced some of the biggest voices and creators in the world, so it's important to give them a big shout-out and provide support for them in all ways possible. That's why we're heading to Manaus.
JBM: Let me say that my head is exploding in the best way possible (laughing together). Love all of this, and I’ll continue to digest and ponder! Let's move on to the final question. As one of the most well-known Latino leaders in the business of opera, we've noticed your involvement in other endeavors beyond the opera stage, including US tech businesses. TDON was a game-changer during the pandemic, providing a blueprint for small to medium-sized opera companies. Given your successful track record, what can companies in the Americas outside of the United States and Canada do right now to find opportunities and growth, nationally and internationally?
“But whether inside or outside the opera, I firmly believe that every brand can create its own story and build recognition from within. Companies don't need to pay Tiger Woods for endorsement; they can literally create their own Michael Jordan.” - David Lomeli, Bolero Tech CEO
DL: Valero could be the perfect fit for them! Geographically, Valero can help bridge gaps and provide visibility. In the past, while working with TDON, I received widespread recognition and visibility, especially online. Today, social media allows us to have a significant impact if we know how to navigate it effectively. With a small investment, targeted ads can be shown to specific audiences based on location, which increases the chances of conversion and success.
However, the opera industry as a whole still underestimates its own profitability and its place in the entertainment sphere. We have yet to fully embrace commercializing YouTube channels or utilizing innovative strategies to gather data and leverage it effectively. While we struggle with declining revenues, conversations around improving conditions, salaries, healthcare, and inclusivity within the industry are prevalent; we need to address the underlying issues and explore alternative revenue sources, rather than solely relying on traditional (funding) models.
Especially in Latin America, government support or seed money is not always guaranteed, unlike in Europe where there's more institutional backing for the arts. However, some client companies invest in strategic marketing and public relations campaigns that result in far-reaching effects. For example, if X company plans a marketing campaign that results in a prominent profile in The New York Times, it can significantly enhance their in-house fundraising efforts and broaden their reach to US audiences. This type of forward-thinking and utilization of technology can be beneficial for opera companies worldwide.
JBM: I absolutely agree here. During my time consulting with Santa Fe Opera PR and marketing a few years ago, I discovered that the company had been in the black for 60 years, its entire history up to that time. However, that story had never been told publicly, in a meaningful way. My advocacy on this point resulted in a a major Denver Post business story, but that’s not the point; in the end, investors and small donors want to be attached to winning endeavors, so pieces like this or the New York Times example you stated absolutely help in that regard.
Note: this section is comprised of loosely related, stream of consciousness thoughts, insights and ideas offered by David Lomeli. We’ve edited slightly to create a more linear read. Thank you. JBM
DL: That’s exactly right. It's essential for all companies, whether in the US, Europe, or Latin America, to recognize that sustainability and revenue generation should go beyond government support and traditional donors. The use of powerful storytelling to connect with individual ticket buyers, millennials, and the younger generation is crucial for long-term success. If we fail to engage with them now, we risk losing opera’s future audience base. Education about music and cultural outreach are also vital when trying to attract new audiences. Furthermore, offering opera pieces in languages people understand, such as English, immediately make the experience more relatable.
JBM: OK. Another question. What do you think about the Met (Opera)’s new footing - and business approach - on new operas from diverse composers?
DL: Regarding the Met, I think they’ve understood the importance of catering to their multicultural city and the dependency on the American public for opera. With the decline in Asian and Russian tourist opera, it's crucial for the company to focus on their local, immediate audience. However, I do have concerns about rushing a whole generation of artists who may not have received the same level of preparation. Additionally, the aggressive writing style (of some new opera) and the need to amplify certain productions can be challenging.
However, I appreciate and laud Met Opera’s post-pandemic efforts to compensate artists and explore different repertoire…I think these moves could’ve been made earlier. But I also wonder if the productions are specifically created for the American public or if they truly represent Latin American perspectives. It's essential to avoid falling into stereotypes or simply replicating existing works. Offering a diverse range of productions that go beyond the expected tropes, such as mariachi operas, is important. For instance, opera doesn’t need versions of Coco over and over. Asian stories should focus on genuine representation rather than simply offering another version of Madama Butterfly.
Note: this section is comprised of loosely-related, stream of consciousness usable thoughts, insights and ideas offered by David Lomeli. We’ve edited slightly to create a more linear read. We suggest printing these and keeping on file! Thank you. JBM
When it comes to planning and pricing, considering the demographics of the audience and the affordability of tickets is crucial. The Santa Fe Opera, despite its geographical limitations, manages to attract audiences, even though it can be one of the most expensive opera experiences in the world. Companies need to find a balance between revenue generation and accessibility to ensure a sustainable future for opera.
To increase their sphere of influence and make their presence known in the world of opera, companies can take several steps. First, leveraging social media effectively is key. It's essential to have a strong online presence, engaging with audiences through platforms like Facebook, Instagram, and YouTube. Creating high-quality and engaging content that showcases their productions, behind-the-scenes moments, and artist profiles can help attract new audiences.
Second, collaborations and partnerships with other artistic and cultural organizations can expand their reach. By working together, companies can tap into each other's networks and share audiences, thereby increasing their sphere of influence.
Third, embracing technology and innovation is vital. Exploring virtual performances, livestreaming, and on-demand platforms can help reach a broader audience, including those who may not have access to live opera performances. Technology also allows for targeted marketing campaigns, reaching specific demographics and regions more effectively.
Lastly, embracing diversity and inclusivity in programming is crucial. By showcasing a wide range of repertoire, featuring diverse voices, and supporting emerging artists, companies can attract new audiences who may feel more represented and connected to the art form. By implementing these strategies, companies can broaden their influence and attract new audiences, ensuring the future of opera.
I absolutely believe that social media is the unexplored frontier for classical music, overall. But let’s be frank. There are barriers. Sadly, here in America, we face real and challenging agreements with our unions, which restrict us from publishing anything longer than 15 minutes at a time. It's really quite frustrating…I mean, if we want to publish more, we have to go through a whole other process, which is complicated. Companies have to jump through many hoops and say three hail Marys just to get a few extra minutes (chuckling). It ends up being a lot of bureaucratic nonsense. And let’s be clear, it's not like this in other industries. For example, in the film industry, promotion period compensation is included in the fees actors earn. But in opera, we seem to demand payment for every little thing, even if it means people won't know about us or the work, which is detrimental to everyone and most importantly, to the art form.
Many companies I've worked with don't allocate nearly enough budget for social media. It's incredible how a company might spend 95% of funding on the actual product but leave nothing for social media, their most cost-effective tool. The expression “make it make sense” absolutely applies here. For example, if you were to advertise in newspapers like The Dallas Morning News, The New Mexican, or New York Times, a single page could cost you $20,000 to $50,000. That's a hefty price tag. But look at what Dallas achieved with just $500,000 for a year, including salaries for four (4) people (during the TDON pandemic period). They spent the same amount as they would on The Dallas Morning News in a typical year, but the global reach and impact were massive, even in conservative terms. This approach completely changed the company’s global perception. It opened doors for individuals, like Emmanuel (Villaume), who received increased job offers and now conducts in the world’s most prestigious venues. Social media works, for individuals and companies.
“Of all the problems that classical music or opera has, 99% of them are revenue-related. So, it's definitely within our reach…my LLC and bank account prove that social and the work Bolero is doing works.” - David Lomeli, Bolero Tech CEO
However, traditional (opera, classical music) CEOs and board members sometimes fail to see social’s potential, almost like they're living in a different world. Unless a company has a CEO or someone who understands these concepts, it's going to be an uphill battle. Unfortunately, in most boardrooms that I've been in, I'm the only one who truly comprehends its power - which is rarely the case in the greater, non-classical music, business world. Also, most of the people sitting at that table probably don't have Instagram accounts or understand that value. But whether inside or outside the opera, I firmly believe that every brand can create its own story and build recognition from within. Companies don't need to pay Tiger Woods for endorsement; they can literally create their own Michael Jordan. It’s amazing…there's so much untapped potential and money out there. Here’s a thought: if we look at the top 50 stocks, most of them are in the digital realm. So, if these business-minded individuals can succeed there, why do we not apply the same principles to our classical music industry, our business of opera?
I think social media is actually easier than people perceive. Here’s something for your readers. Right now, you could go to ChatGPT, a free platform, and outline your company's budget and goals. Simply type it out like this: "Hey, I'm the CEO, and this is my budget. Can you provide a social media strategy based on my profile?" I promise you it will generate a schedule that suggests posting pictures of you during rehearsals from different angles, using optimal hashtags, and posting at strategic hours to maximize engagement and viewership. It's that simple, yet so many companies are leaving money on the table by not utilizing social media effectively. That’s one of the pearls I can offer today, because I have a business to run (smiling).
Of all the problems that classical music or opera has, 99% of them are revenue-related. So, it's definitely within our reach…my LLC and bank account prove that social and the work Bolero is doing works.
###
Connect with David Lomeli via LinkedIn.
Follow David, BoleroTech, and Opera Latino America on Instagram.
Visit Bolero.Tech