On March 20, 2004 at Christ Episcopal Church, Needham, MA, the BSR Select Audition Directors held their first networking session. There were 17 individuals present and questions for discussion were solicited from each ahead of time. The following is a synopsis of the topics that were discussed during this two hour forum. For a full transcription of each conversation, please click on the blue links below.

2004 DIRECTOR'S MEETING
March 20, 2004
8:00 AM - 10:00 AM
Christ Episcopal Church, Needham, MA


Part I. Copyright:

1. Introduction: About copyright law
2. Horror stories of people who got caught
3. If a copyrighted work is changed the estate or publishers may not allow the work to be performeed
4. Works performed in Concert Format: Publishers do not charge much for up to two unstaged selections from a work, if performed with piano
5. Legal Loop Holes
Loop Hole 1. Use scores from before 1928; with your own translations
Loop Hole 2. It is legal to paraphrase or parody a work and perform it
Loop Hole 3. Go to the composer and circumvent the publisher
Loop Hole 4. If one doesn’t charge at the door one MAY not have to pay royalties if one bought the scores
Loop Hole 5. An ASCAP license ($25 a year) allows for usage if one buys the scores and sends them a program.

Part II. Funding:

1. Introductory questions: “Finding and retaining good Volunteer Help,” “Finding funding for Administrators,” “Maintaining high production values on a low budget,” “Ways to collaborate and share resources,” and “Publicity ideas and Materials.” “Repertoire” (standards versus unusual programing; Original language versus English historical accuracy versus social relevance copyright
2. College Interns ; Professionals who want to fill thier resumés while unemployed; and Grants to fund Executive Secretaries
3. Grants: account for 5-10% of one’s budget; one can not depend on ticket sales; individual contirutions are the best means to fund a group. Funding is scarce, and is usually available based on community needs and tend to favor cultural diversity (see Part III) rather than artistic merit
4. Other means of support: Cocktail fundraisers, auctions and silent auctions, parties honoring prominent people, and a lobster roll sale


Part III: Diversity:

1. Diversity in Performers: Including minorities in productions recieved universal approval, while,discrimination based on looks (especially size) was disapproved by everyone present
2. Finding New Audiences: More young and middle aged audiences; Cross over audiences: G & S and Broadway Music Theater; Translations into English and other languages; More Social Relevance and Newer Operas

Present at meeting:

The Acting Singers' Project: David Walther (moderator)
Cantemus: John Hoffacker
Cape Cod Opera: George Arthur, and Linda Arthur
The Concert Singers of Lynn: William Sano
Hillyer Festival Orchestra: Dirk Hillyer
Salisbury Singers: Michelle Graveline
Longwood Opera: Scott Brumit; Jeffrey Brody
Lowell Opera: Christina Puntoni, and Judy Lamoine:
Melodic Music, John Flaster
Opera by the Bay: Beth MacLeod
Opera Providence: Kathryne Jennings
St. Andrew's Performing Arts Series: Pat Griffin
The Vox Consort: Richard A. A. Larraga, and Stephen Marc Beaudoin

BSR NEWS BULLETIN
Click here to enjoy reading about BSR members featured in past issuesof the Bulletin:
MEMBER
HIGHLIGHTS

OTHER ARTICLES AND SPECIAL FEATURES:

NEW: 2004 Director's Meeting minutes! A two hour forum with 17 leading NE area directors transcribed for your perusal.

An Interview with Timothy Banker, Co-Producer of "From the Top" weekly radio shcw.

Exposure and Encourgement
Ed Justen interviews invesigates the joys and challenges of keeping kids singing in today's busy world.

The Boston-NYC Connection:
Contributing BSR members offer stories and advice about commuting to New York regularly for singing. A list of NYC resources and member biographies follows the article.

Strength in Numbers;
A feature article on BSR reprinted, with permission, from Classical Singer Magazine.

The Japan Journal:
BSR member, Rich Bissell, shares his month-long experience as an american opera chorus ringer for "Peter Grimes" in Japan, 2002.

BACK TO ARTICLES PAGE