OI Interview | Operabase CEO Ulrike Köstinger
(Santa Fe, NM) - We first connected with Ulrike Köstinger via Instagram and Zoom during the pandemic. At the time, Ulrike was Chief Content and Partnership Officer for Operabase, CueTV and holding company Arts Consolidated. Operabase, the world’s go-to opera database, has documented global operatic activity since 1996, enjoying global brand recognition for decades. With over 690,000 performances on file, Operabase has recorded the work of artists in more than 3,000 theatres, has 2.5 million business of opera and enthusiast subscribers, and publishes opera season information in 34 languages.
After 2+ years in her previous role, Köstinger became Arts Consolidated/Operabase CEO on January 1, 2023.
After catching the above video in January, we knew now was the time to reconnect; to ask this operatech CEO some questions related to the company press release, company activities and to hopefully signal boost this business story in the Americas, a critical Operabase market (more on that soon). Fortunately, we had the opportunity to chat with Ms. Köstinger via Google Meet on February 8th. Ms. Köstinger received our questions prior to our conversation. The following is a transcript of that conversation, lightly edited for flow.
JBM: Thank you for taking the time to connect, Ulrike. I sincerely appreciate it and huge congrats to you. What are your thoughts on this progression to CEO?
UK: Thanks, James. The good thing about it is that I’ve been working for the company for more than two years, so it's not like I’m suddenly the CEO of a new (to me) company. I already know the company well, I know the team, a super loyal team I will add, who I’ve also seen progressing and growing with me. So, it's actually pretty exciting for all of us; I think internal promotions are always very well received and I had also some time to prepare. I received the good news in November and started January 1st, so I had time to restructure a few things. However, since January 1st, it has been pretty busy, so very glad to have had this time (to prepare).
JBM: I know we have limited time, so I'll jump in with my first question. As you know, the press release dangled some interesting thoughts, specifically, how Arts Consolidated will be positioned “to expand into other parts of performing arts” and that you’re “the ideal CEO” to lead this new journey. Could you expand on this and provide more detail on what’s next for Arts Consolidated/Operabase/CueTV?
UK: I would say that over the last 2 1/2 years, especially during COVID, we managed to weather market changes that occurred due to COVID and the post-pandemic (period), introducing technological tools that support the performing arts industry…and by performing arts industry, I'm already alluding to the fact that it's not only opera! We’ve seen high demand from new clients who are coming from the orchestra world, meaning orchestras, classical concert halls, musical theaters and so forth. Also, more journalists and magazines are in need of a of a database that has accurate information and is also quick. Due to the pandemic, there were far more jump in situations, so (clients) needed an efficient, cost-effective tool (to cast), this is still our main Operabase product, but also, in terms of audience development, our monthly unique visitors continue to grow because we have such high-value data…over 3,000 institutions and arts organizations have an Operabase profile. Users aren’t only searching for live performances and tickets, but also for videos. We started CueTV, our own B2B streaming service for our users, but search will point subscribers to everything that’s available out there globally, even if it's through another streaming service, a public broadcaster, etc. We direct the audience towards whatever they want to see, the same for, of course, performing arts institutions.
JBM: So, for instance, if there's something happening on Medici or if there’s something happening on PBS, and somebody or a company is in the (Operabase) database, it’s about creating access to that information?
UK: Exactly. Pointing them out. Integrating (these results) and driving our audience to players on the market.
JBM: So, is it fair to say that Operabase functions or will ultimately function somewhat like Google? A search tool for the performing arts, is that where you're going, to be as broad as possible and cover as much ground as possible?
UK: Well, I would say it the other way around. Google is always pointing to us, that's where we get so much of our audience from because Google ranks Operabase as a verified information source, with loads of profiles. That's also why, if you Google something (opera-related), it often points you to Operabase. To which service could you compare Operabase or what we are doing? Probably IMDb, for what it does for the film industry.
JBM: OK, that's an excellent comparison, thanks for that.
UK: Of course.
JBM: Looking outward, as a tech CEO running a technology company in the performing arts, how do you foresee engaging or collaborating with other startups in the local tech ecosphere? Or globally? With people or entities not involved in classical music, opera or the performing arts, per se?
UK: Yes, that’s a goal for us. Operabase is a known and respected brand since 1996, a much-loved brand that’s quite famous in the (performing arts) industry. But as you were pointing out, Arts Consolidated is a tech company, so it’s very important for us to also engage with other platforms, with other industries. For 2 1/2 years, I've almost only been present online at industry-specific conferences and panels. However, I’m changing that this this year, I’m going to the South by Southwest (SXSW) festival very soon. This is where Operabase needs to be and where we look forward to engaging. Yes, we are a Danish company, but we see ourselves as a global entity. I say this because we have a total of 50 team members, from almost 20 different nations; all of our people are working fully remote, from Mexico to India, France to Italy to Austria (where Ulrike is based), and of course, our colleagues in Denmark. Also, our owners are partly Danish, but also Swiss. So, that’s why it’s very important (for Operabase) to be internationally-oriented versus (having) a local scope.
JBM: Understood! And so glad that you’ll be at SXSW. From the Opera Innovation perspective, the whole idea is about getting opera out of its silo and into the business ecosphere generally, startup, tech, what have you. Because it is an industry, the performing arts (represent) an industry, you need integration with other industries to make things happen, right? Collaboration and cooperation. Thanks for also sharing details on Arts Consolidated’s global structure and positioning, super helpful and exciting.
UK: Thanks, James. I’ll be with the Austrian delegation, and it will be my first time (to SXSW) and my first visit to Texas.
JBM: That’s fantastic, sure you’ll have an amazing time and glad this piece will be live beforehand so that people will know that you’re coming! (laughing, together) So, one more question for you. We recently heard an amazing Monocle on Saturday podcast interview with Dr. Maria Rosario Jackson, Chair of the National Endowment for the Arts. It was completely random but wonderful…she spoke about the connection between virtual participation and live engagement, post-pandemic, and so we hoped to get your thoughts on this specific quote from the interview:
“Some of the sharpest performing arts organizations are thinking about the connection of virtual participation to live engagement. What is that spectrum? Is there a bridge there? There's perhaps more nimbleness and flexibility around understanding what could be an arts venue, programming that's happening maybe not in the main physical presentation venue that they're used to working in, but more programming happening in communities and what some of us might think of as unconventional settings, let's say; there is this explosion of ideas that are not limited by some of the rules we felt we had to abide by before.”
Back to Arts Consolidated, I thought CueTV might play a role or perhaps there are other, new initiatives that will further innovate across the virtual to live engagement spectrum. Different formats? Or, is Arts Consolidated taking advantage of these new normals, new openess, to encourage its own growth and innovation? You’re obviously going to SXSW, so that’s major…every opera company, every (opera professional) should be at SXSW or in Davos at the WEF, talking about these things. We’ve gone on a bit, so we'll let you answer the question…
Arts Consolidated/Operabase CEO Ulrike Köstinger. Read the OperaWire story. Photo credit: Operabase
UK: So, first of all, let me point out that I completely agree. Audience engagement and audience development, it's an absolute must, especially post-pandemic, because the new normal and the audience have changed. (Regarding the spectrum between virtual and live)..with digital tools, with platforms, it's easier to not only engage, but also to know what's happening in real-time because we have that data. (These type of approaches) need to be implemented in every institution, we all need to play with platforms and to engage them in a much deeper way than before (i.e. pre-pandemic). In the end, it's the audience who drives our (business) sector, by attending shows, by streaming and consuming entertainment. Right now, (streaming and virtual) are about convenience and accessibility for the audience, so businesses need to tap into this creative space, and with a wide spectrum of people. For example, one of the advantages of our team is that we are globally distributed and have so many perspectives (across the company). Also, the average age of our team is around 30, so pretty young. This could be a new normal (for our sector, as we are developing) the next gen audience. So, this is pretty cool. There’s also the learning curve of what we’re doing. Each person brings different, valuable perspectives to the table, so we can readily incorporate shifts in our strategy. Also, as we are not limiting ourselves to opera, we've continued to connect various industry players through our (business development). Also the casting tool is not the casting tool it used to be, not just for (opera companies, clients) looking for a Don Giovanni. It now includes various kinds of data, in terms of classical music, in terms of symphonies. We also see that more and more performing arts institutions have changed their repertoire, or have changed their schedules, so we are adjusting for that, as well. My personal opinion is that the new normal is a fantastic opportunity for Arts Consolidated…and actually, for every company. It's a great opportunity because so many things are actually at zero and we can all build from that place. It's all about building right now. For example, in January 2023, we had over 300,000 visitors from our online audience and that’s growing. Our team has done the work and we are well-prepared to handle increased numbers of users. At Operabase especially, we want to build a faster (online user experience) with growth and new innovation, but most importantly, as we will do at SXSW, it’s important to continue engaging with others, exchanging ideas, and creating more opportunity for audience growth.
JBM: That’s a great, comprehensive response. You’re also providing us with a bird’s eye view of the company, its brand ethos and culture, thank you. Since you’ve mentioned the casting tool, could you explain how it works and benefits users?
UK: Sure. Perhaps someone is looking (to fill) a specific role for a (production of) Tosca in the US…they need to find a jump in for the role of Scarpia and the show is in two weeks. The casting tool allows users to locate all US-based profiles that include Scarpia, an alphabetical list of all baritones who have sung the role for the last three (3) years, with their agency (information) in their (respective) profile. At that point, users may click on individual profiles to see (their) repertoire, their availability, videos and so forth. (The casting tool provides) B2B connection through the profile, providing users with agency contact details (putting them directly in touch), allowing for cross checking of references from prior (productions of) Tosca, Scarpias each has performed and so on. Now imagine that someone is casting for an orchestra, searching for singers who (perform) Mahler’s Symphonies, who have (specifically) sung Mahler’s 8th in the past…or conductors who have conducted this piece. Or, perhaps your company is about to stage a Philip Glass production and (there’s an interest in knowing) which stage director has worked with which costume or lighting designers. Or users need to find a puppet artist. These are all searchable in just a few clicks, (which is) why this tool (has remained) so popular for so many years; it's just very efficient, especially with a jump in, which needs to be super quick. No one wants or needs to call 30 agencies because the casting tool will help users locate those ideal artists who know the role and are available…that's what it's about, especially if users need to stage something 2-3 years (in the future). At that point, the casting tool gives users have the opportunity to build their perfect cast, for every role.
JBM: This is excellent. I had a sense that the casting tool might be something akin to what you’ve described, but you provided great illustrations. And to be honest with you, part of my brain thought it was a right time, right place, you know somebody situation. Like “oh, I know this person, I'm going to call them up,” but that's so random and weird and really inefficient, so this helps me better understand how the tool works, an excellent explainer.
UK: Yes, of course!
JBM: Is there anything else would you’d like to add, Ulrike? In terms of introducing yourself to the mostly American Opera Innovation audience?
UK: Yes, thank you. Over the last few years, Operabase has worked on expanding in the US. Before the pandemic, our US clients were large houses, around 15 or so. In my prior role, I was responsible for acquisitions and sales, which allowed me to engage with loads of small to medium sized US companies, but also independent ones. I also recently attended the New Works Forum in New York City. Through these experiences, I’m seeing how different the US market is (when compared to) the European market, how so many great, contemporary pieces are being written every year, how many composers there are…it’s a bit like bringing US culture into opera because opera (primarily) reflects European culture, with 100+ year old content. So, this American brand of creativity is innovative, exciting. I love engaging with US-based subscribers and composers and love what I’m seeing onstage in the States. As a European who grew up with opera, especially in Vienna…culture here is often a given from a young age, so it’s really interesting to learn how Americans find opera and support it. I am also glad to see lots of younger people in US audiences. As CEO, I plan to continue exploring the US, visiting 4-5 times a year in different regions, sharing Operabase and Arts Consolidated’s information technology and expertise, as well and expanding our network and building our brand. On a personal level, I love to meet new people and to learn, so I expect this will be a great year for us.
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Connect with Ulrike Köstinger on LinkedIn and Instagram.
JBM for Opera Innovation