My classical voice training started in 9th grade. By college I was singing some opera pieces. I, personally, love Opera. My Husband, however, does not. Beyond that, ticket prices are too lofty for me to splurge on when I can buy things like ... Britax carseats. I'd love to go, with regularity, but alas, we just can't afford something that both of us don't enjoy, if that makes sense.

As for becoming interested in opera, do a little googling. I'm sure someone is bound to have written an opera blog by this point. See one that might interest you? Do a little research on the storyline; most are easy to follow and generally similar. See if you can find the soundtrack online to simply familiarize yourself with the songs and see if it's something that wouldn't annoy you for two hours.

Start small and work up. :) I prefer Italian language (as that was what I sang the most) as opposed to the harshness that is the German language. Seriously. You sing in German. I never did do well with that one.

Jenna

I love the opera. Like Jenna, I also trained to sing opera in college.

Even now that I live in a place that has a fantastic opera company, we just can't afford to go even once a year. Plus, it can be difficult to find babysitters especially if it is Wagner and lasts four or five hours.

Sarah

That's right, you heard me.
Sarah and the Goon Squad

Miss Domestic

Hey you guys, how awesome is it that I know both of you off-Blogher? AWESOME!

I can sing in German (a little), and you're right, it's a totally different feel. I much prefer the Italian as well, I think that's why I like Callas so much, in general.

And you're right Sarah, I did a little research after reading that article about the Houston Grand Opera and realized that it's super expensive. Even my guilt about not knowing much about opera can't over ride my bank account, unfortunately.

Hi, y'all,

Long time opera buff here, and former Director of Communications for the Opera Festival of New Jersey, the ONLY opera company on the east coast in the 90's to run in the black! Well, besides the Met, which is considered in a class totally unto itself, and never ever compared with any other opera company.

There are several issues with opera that distinguish it from the other arts. 1) public schools have dropped their music programs to the extent that there is little music appreciation in this country in general, let alone for opera. We are not building future audiences. 2) opera is crazy expensive to produce, and because of #1, there is less interest, therefore less fed, state, and local govt. money to help foot the bill. This puts the burden on corporations, wealthy individuals, and ticket buyers. Ticket buyers are thin on the ground because of #1 and because of high ticket prices; wealthy individuals are usually tapped out early by the local symphony or ballet, so that pretty much leaves corporate sponsorship as the major source of support for opera. They've already spent their budget for the year on the symphony and/or ballet, so opera takes the hind tit.

Believe me, opera companies are desperately using any and every idea they can come up with to try to put butts in the seats. OFNJ produced quality operas sung in English specifically to entice first-time opera goers to build audiences who might then be emboldened to attend the operas in the original language. Opera Orchestra of New York, under the direction of Eve Queller, produces concert versions of operas that are otherwise too extravagantly expensive to produce, at Carnegie Hall in NY and a Young Artists program in Princeton every year to expose audiences to gems that would otherwise never be heard, because they call for casts of thousands, or 4 different chorus groups, or flying elephants, or period costumes that aren't already in existence.

Opera companies already try to reduce expenses by renting out sets and costumes to other companies, and the top designers and directors are in demand as much because they can work miracles with bare-bones as the intensity of their direction or art. On the title page in the program book you'll frequently see acknowledgements such as "Costumes courtesy the Lyric Opera of Cincinnati," or whatever.

You can't take a breath in opera production without incurring mega-expense. Whereas a symphony can fairly easily predict a comparatively low overhead, opera companies have specialized crews--lighting, sound, set buiding, stage, costume, chorus, prompters, orchestra, musical director, choral director, publicity, box office, makekup, props, ad infinitum that add to the payroll. They usually have to rent (or pay extra if it comes with the technicians) light racks, lighting boards, supertitle equipment/software, lots of specialized stuff. Plus the venue has to have dressing rooms, washers/dryers, a fly tower, storage for sets and props, yadda, yadda.

I'm actually surprised the Houston Opera is only 2 mil in the red. Opera companies struggle more than any other type of arts group.

Let me throw this question out there: how much IS opera worth to you? How many movies, or rock concerts, or DVDs, or cups of Starbucks, or any other small but ongoing pleasures are you willing to forego for 6 months or a year to save up enough for a 2nd tier seat at the opera? If the company is good enough, then that 3rd tier seat should be just fine...opera tickets aren't THAT expensive.

Think of it this way. If we DON'T take the time or trouble to attend, then opera will soon be an extinct art form. How tragic would that be?

Oh, and don't just listen to the commercialized operas--that's pretty much crap--there's so much out there that's so gorgeous--your local library, or local university library will have a gold mine of goodies to listen to, don't even waste your time with Wagner or Laksmi or the 3 Tenors any more--you've got a huge world to explore!