“It’s a delicious irony that we singers can rarely afford opera tickets,” remarks tenor Jason Ferrante. Vocal prowess or not, many members of the younger generations find it hard to be operatically inclined when price is factored in. Yet with most companies now in full swing for their 2009-10 seasons, a tight purse string is no excuse for singers to slack off in professional viewings. “I think, especially in New York, you have to try to see as much theatre as you possibly can,” says Ferrante’s colleague and fellow tenor, Tracy Wise.
Of course, being budget conscious with theatre tickets can be a moral gray area. While many reading this have probably snuck into a show or two already, there are ways of getting in without risking the iron hand of the (house management) law.
Consider a One-Night Stand
With most attention focused on finding a cheap seat, many people forget that they can also purchase a place to plant their feet instead. These are often the cheapest seats in the house, whether in Europe (the Vienna State Opera sells them for €2 a pop or a booklet of 50 standing room vouchers for €75) or in the United States ($10 at the San Francisco Opera). These are usually sold either the week or the day of the performance, so it pays to be a bit flexible with what you want to see and when. But if you can spend an afternoon waiting in line with a book or some friends, the value certainly exceeds the price.
Don’t Miss Rush Hour
Monopolizing your current (or not-so-current—“We’re perpetually students,” says Wise) college ID is one way to score last-minute rush tickets. However, many companies offer rush programs to the public, regardless of age or educational status. And no company has gotten more attention for this than the Metropolitan Opera. While it may sell some of the highest-priced opera seats in the country, it also recently instituted the Varis Rush Ticket Program which offers 200 orchestra seats at $20 each, Monday through Thursday. Naturally, the line each weeknight features a cast of aspiring—and working—singers. In fact, the Met’s general rush is even cheaper than its student discount (which goes for $25 per ticket).
“I love that rush deal,” Wise enthuses. “One day, it was 4:00 p.m. and I happened to be at Lincoln Center and decided to see The Magic Flute. I brought a book with me, sat down there, met some interesting people in line, and went to the show that night.”
Make Overtime
If you’re contracted with a company, find out what their policy is on complimentary tickets to their other performances. A New York City Opera ID will likely get you into any show you wish to see that season either through comps or from a specially designated area for staff members to observe the performance. It also carries offers for shows in the Lincoln Center family (such as the Mostly Mozart Festival, the New York Philharmonic, or the Chamber Music Society of Lincoln Center).
Wise credits companies such as the Utah Symphony & Opera—which, in running two companies, allows its musicians to benefit from seeing each faction in performance—and the Dallas Opera for performances that were not only free but also an excellent way to study the companies that he worked for.
“The first time I worked for Dallas Opera, they were doing Pagliacci and they threw tickets at us. I learned a lot about who they were, what they aimed to achieve artistically, through that performance.”
Go for a Casting Call
“You get to a point in your career,” says Ferrante, “where chances are you know at least one person involved in most productions and concerts in a given area—especially in a place like New York or Europe.” With Facebook and Twitter now the norm rather than the exception, it’s no surprise that a lot of posts, tweets, and e-mails that fly between singers are requests and offers for final dress and comp tickets.
“I’ve seen more shows that way—friends performing and giving me tickets,” Wise agrees. “I was going to do an ‘Ariadne,’ so I really wanted to see the Met production. I checked out all the ticket options online and ended up getting it through a chorister friend of mine.”
But don’t limit yourself to knowing singers in a particular show—you might have gone to school with one of the makeup artists or you may share a coach with one of the cast members. Even a friend in administration can help you with a free, or at least heavily discounted, seat.
Find Other Nets to Work
Being a voice student often means that you’re at square one when it comes to networking, especially if your friends and colleagues are also at the same burgeoning level in their careers. Now is the best time to reach out to local companies and forge some bonds that allow you to see some performances and get to know the classical industry in your community.
“When I was at Juilliard, the professors were very good about introducing us and helping us to see as many shows as possible,” says Ferrante. “And if your vocal department isn’t doing that in your school, don’t be afraid to step up and reach out to your local companies yourself. It’s completely appropriate to ask, say, Madison Opera or Florentine Opera if they would be willing to forge a partnership with your department at the University of Wisconsin.”
On the individual level, you can also offer up your time to local companies in exchange for the occasional ticket. “Contact the development department,” Ferrante urges. “They are always in need of volunteers and interns: people to stuff envelopes, make phone calls (which a vocal student of mine did when she moved to Boston). And it’s a department that’s far enough removed from the production side of any company.”
As the public face of a company, development departments are generally eager to work with young and enthusiastic volunteers—especially in this economy—and they get the benefit of some free labor (which means you won’t be asking for something for nothing).
Both Ferrante and Wise caution, however, against asking for comps once you’ve graduated.
“If I don’t know anyone at a company, I’m not going to ask for a comp,” Wise explains. “I think they would be kind of put off by that, and the next time they meet you they’d remember: ‘Oh, yeah, you’re that guy who contacted me asking about free tickets.’” Of course, by graduation time, you should have at least a few connections with some companies.
Act Your Age
Even if your student days are over, you can still qualify for many subscription schemes offered to people generally between the ages of 21 and 39. For a modest annual fee, Seattle Opera’s Bravo! Club allows members to purchase half-price tickets.
Similarly, the New York Philharmonic offers those under 35 to create the My Phil subscription series for three productions or more, with premium seats available for $29. These performances not only include the works of symphonic masters, but also vocal recitals by the likes of Thomas Hampson and Susan Graham.
Keep Your Options Open
Simply looking to see as much as possible? Grab a copy of your local weekly magazine or alt weekly (or check them out online). Magazines like Time Out New York and guides like Pariscope often highlight free classical and opera concerts and performances. This is also a great way to research independent and splinter groups and discover new venues—such as New York’s fabulous Le Poisson Rouge or Galapagos Art Space.
“Oftentimes there’s not necessarily a show I want to go see,” says Wise. “But if tickets are $20, I’ll go see it. Often it’ll turn out to be one of the best shows I’ve ever seen.”
And if the opera house or concert hall is dark, check out other theatrical offerings. Exposure to all things artistic will help you grow as an artist.
Enjoy the Added Benefits
Remember that, as a working singer, you can most likely write off whatever you do spend on tickets for professional viewing. Save your stubs or receipts to go over at tax time—even if you do have to fork over $50 for a performance you’re dying to see, it can help you financially in the end.
In your own performances, also be sure to offer up tickets to as many friends and colleagues as possible. Chances are they may be looking to see some free shows as well, and it never hurts to be generous with comps.
