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Media Kit - Opera News
Media Kit Location Lakeside stage, Bregenz, Austria “Opera happens every day.” “Opera inspires, exhilarates and stimulates us every day, all over the world, in hundreds of spectacular settings.” —F. Paul Driscoll, Editor in Chief, Opera News “Opera tells stories through the pure emotion of music.” — Lisa See, American novelist “The combination of genius music, gripping drama and astonishing singing makes opera a uniquely attractive art.” — Sameer Rahim, cultural critic and editor Castel Sant’Angelo, Rome At a Glance MISSION STATEMENT Speaking with Authority OPERA NEWS is the preeminent source for opera enthusiasts worldwide. Noted as one of the most compelling authorities in the industry, OPERA NEWS is committed to providing its print, digital and live audiences with diverse, current and poignant insights into a continually evolving world of passion and drama. Sound Bites AUDIENCE: 150,000 TOTAL CIRCULATION: 100,000 FREQUENCY: Monthly MALE/FEMALE: 52/48 MEDIAN AGE: 56 MEDIAN HHI: $172,995 Prague’s Stáni Opera (State Opera) Source: 2014 IPSOS Affluent Survey; Opera News publisherdefined prototype Wallis Giunta. This month, the mezzo sings Tiffany in Adams’s I Was Looking at the Ceiling and Then I Saw the Sky for her Rome debut. WALLIS GIUNTA’S MEZZO boasts a silvery top and a hearty midrange, both deployed with crisp diction in an ever-growing repertoire of modern and classic roles. In November, she makes her German debut as Cherubino at Oper Leipzig, where her other assignments through June are Rossini’s Angelina, Siébel in Faust and even a Valkyrie. A July debut in Frankfurt, as Mercédès in Carmen, follows. An alum of the Met’s Lindemann Program, which she completed in 2013, the Canadian began her studies in Ottawa and Toronto, where her first undergrad assignments were quintessential soprano roles — Mozart’s Queen of the Night and Susanna. Now, she says, “I have high notes, but I can’t live there. It’s not that I have a bad technique and I’m actually a soprano in hiding. The most colorful part of my voice is the middle. So if anyone ever says to me, ‘I think you’re a soprano,’ I say, ‘Well, yes, I am. A mezzo-soprano is just a different kind of soprano, and that’s the kind I am.’” Mozart continues to hold an important place in Giunta’s repertoire. “I am very, very satisfied singing Mozart operas, but I have to work harder — as opposed to Britten or Rossini, which tends to lie pretty low and then go up, 14 OPERA NEWS / SEP TEMBER 2015 then come back down again, Mozart is non-relenting passaggio singing. So for me, it’s a challenge. It’s a good challenge.” Alongside traditional gems, Giunta likes to sing twentiethand twenty-first-century music. In April, her first Naxos recording was released — a new song suite for mezzo-soprano and orchestra, Silent Film Heroines, by William Perry. She has also sung world premieres in Canada by Dean Burry and Andrew Ager, as well as R. Murray Schafer’s Children’s Crusade, in which “the audience and the performers were all just mingling around willy-nilly in a warehouse, and the scenes in the show would evolve organically out of the crowd. It was one of the most inspiring things I’ve ever been a part of. And it was opera.” Because of the “unbelievable” expanding definition of opera, Giunta never worries about the future of her art form. “I think it’s very easy to say it’s bad right now and the future is precarious, but when in history has there not been some sword hanging over the head of opera? Whether it’s a war, or a great depression, or an industrial revolution, there’s always something. So we say now it’s worse than it’s ever been, but we don’t know. We didn’t live a hundred years ago!” GUTTER MAKEUP AND CREDIT HAIR: AFFAN MALIK Vital Stats by MARIA MAZZARO Photograph by D A R I O A C O S TA SEP TEMBER 2015 / OPERA NEWS 15 Opera Today OPERA EVERYWHERE In Popular Culture Tom Ford Mission Impossible: Rogue Nation,ma^[hq& h§\^\aZfih_lnff^k+)*.%_^Zmnk^lZg Z\mbhgl^jn^g\^lahmZmma^Ob^ggZLmZm^Hi^kZ ]nkbg`Zi^k_hkfZg\^h_Turandot. BlZZ\FbskZab%Mhf?hk]%Fbn\\bZIkZ]Z% DZkeEZ`^k_^e]Zg]SZg]kZKah]^lZk^ lhf^h_ma^_ZlabhglmZklpahaZo^]^lb`g^] hi^kZ\hlmnf^l' Lnik^f^<hnkm:llh\bZm^Cnlmb\^lÆZg] hi^kZ_ZglÆKnma;Z]^k@bgl[nk`Zg]:gmhgbg L\ZebZZk^ma^ln[c^\mlh_Zg^p\hfb\hi^kZ% Scalia / Ginsburg%pab\aaZ]bmlphke]ik^fb^k^ bg+)*.' BgL^im^f[^k+)*.%Ie\b]h=hfbg`hpbee hi^gma^Ehl:g`^e^lHi^kZl^ZlhgbgZ k^oboZeh_Phh]r:ee^gÊlÓklmhi^kZikh]n\mbhg% Gianni Schicchi. The Vienna Opera, a star player in Mission Impossible Increase in Accessibility BgCner+)*.%fhk^maZg,)%)))i^hie^ Zmm^g]^]LZg?kZg\bl\hHi^kZÊlebo^lbfne\Zlm h_Le Nozze di Figaro Zm:MMIZkd%ahf^ James Conlon, h_ma^LZg?kZg\bl\h@bZgml' Woody Allen and Fhk^maZg*0fbeebhgmb\d^mlphke]pb]^aZo^ Plácido Domingo at [^^glhe]mhThe Met: Live in HDmkZglfbllbhgl' L A Opera premiere Ma^I^Z[h]rZg]>ffr&pbggbg`l^kb^l%ghp \^e^[kZmbg`bmlm^gmaZggbo^klZkr%\nkk^gmerk^Z\a^lfhk^maZg+%))) fhob^ma^Zm^klbg0)\hngmkb^lZkhng]ma^phke]' San Francisco Opera simulcast in AT&T Park Reader Profile OPERA NEWS readers represent an educated and affluent audience with significant assets, tremendous income levels, and proven spending habits. Demographics MALE/FEMALE MEDIAN AGE 52%/48% 56 Affluence MEDIAN HHI MEDIAN HOUSEHOLD NET WORTH HOUSEHOLD NET WORTH $2.5 MILLION + MEDIAN VALUE PRINCIPLE RESIDENCE OWN 2+ HOMES $172,995 $950,955 21% $488,418 35% Influence COLLEGE DEGREE + POST COLLEGE DEGREE + PROFESSIONAL/MANAGERIAL TOP MANAGEMENT ANY CHIEF OFFICER Isabel Leonard 88% 60% 73% 22% 24% Source: 2014 IPSOS Affluent Survey; Opera News publisher-defined prototype Reader Profile AUDIENCE OF AFFLUENCE & INFLUENCE Household Income $500,000+ Opera festival audience in Glyndebourne, England MAGAZINE OPERA NEWS WINE SPECTATOR ARCHITECTURAL DIGEST NEW YORK MAGAZINE HARVARD BUSINESS REVIEW CONDÉ NAST TRAVELER THE NEW YORKER TOWN & COUNTRY FORBES VANITY FAIR TRAVEL + LEISURE INDEX 356 350 349 343 297 276 268 264 246 237 215 Household Net Worth $5 Million+ MAGAZINE OPERA NEWS TOWN & COUNTRY WINE SPECTATOR ARCHITECTURAL DIGEST FORBES NEW YORK MAGAZINE VANITY FAIR THE NEW YORKER CONDÉ NAST TRAVELER TRAVEL + LEISURE HARVARD BUSINESS REVIEW Sondra Radvanovsky and Piotr Beczala at the OPERA NEWS Awards in 2015 INDEX 316 266 257 245 229 218 209 200 194 158 150 Source: 2014 IPSOS Affluent Survey; Opera News publisher-defined prototype. Competitive set includes Architectural Digest, Condé Nast Traveler, Forbes, Harvard Business Review, New York Magazine, The New Yorker, Opera News (prototyped), Town & Country, Travel + Leisure, Vanity Fair, Wine Spectator. Numbers EXTRAORDINARY DEMOGRAPHICS Liquid Assets $5 Million + MAGAZINE TOWN & COUNTRY OPERA NEWS ARCHITECTURAL DIGEST THE NEW YORKER FORBES NEW YORK MAGAZINE CONDÉ NAST TRAVELER WINE SPECTATOR VANITY FAIR HARVARD BUSINESS REVIEW TRAVEL + LEISURE INDEX 605 527 519 486 461 435 400 367 311 257 243 Attended 50+ Cultural Events or Institutions in past year MAGAZINE OPERA NEWS VANITY FAIR TOWN & COUNTRY THE NEW YORKER NEW YORK MAGAZINE CONDÉ NAST TRAVELER HARVARD BUSINESS REVIEW WINE SPECTATOR ARCHITECTURAL DIGEST TRAVEL + LEISURE FORBES INDEX 580 379 358 336 328 319 303 298 295 216 205 Source: 2014 IPSOS Affluent Survey; Opera News publisher-defined prototype. Competitive set includes Architectural Digest, Condé Nast Traveler, Forbes, Harvard Business Review, New York Magazine, The New Yorker, Opera News (prototyped), Town & Country, Travel + Leisure, Vanity Fair, Wine Spectator. Wallis Giunta Numbers EXTRAORDINARY DEMOGRAPHICS Spent $15,000+ on fine watches or fine jewelry in past year MAGAZINE TOWN & COUNTRY HARVARD BUSINESS REVIEW OPERA NEWS WINE SPECTATOR FORBES VANITY FAIR TRAVEL + LEISURE CONDÉ NAST TRAVELER ARCHITECTURAL DIGEST NEW YORK MAGAZINE THE NEW YORKER A Vegas-style Rigoletto at the Metropolitan Opera E XC LUS I V E I N T E RV I EW Style Designer Catherine Zuber p.22 ces pendants d’oreille Cartier High Jewelry Earrings in platinum, 77.44-grain and 72.16-grain natural pearls, natural pearls and brilliant-cut diamonds. Price upon request. Available by appointment only. 1-800-CARTIER, www.cartier.us Jewel Song. THE STARS OF THE NEW SEASON c’est la fille d’un roi Yellow and White Diamond Tiara (Diamonds 177.64 cts.) by Graff Diamonds. Price upon request, www.graffdiamonds.com YOUR BACKSTAGE PASS From The Met to Los Angeles with Sondra Radvanovsky Aleksandrs Antonenko Angela Meade Riccardo Muti A NEW LULU ARRIVES AT THE MET p.42 THE CRISIS INSIDE ENO Diana p.30 le bracelet le collier One-of-a-kind High Jewelry Necklace set in white gold with white and black diamonds by de GRISOGONO. Price upon request, www.degrisogono.com 20 OPERA NEWS / SEP TEMBER 2015 The Art of the Sea Diamond Bracelet with baguette and round brilliant diamonds set in platinum by Tiffany & Co. Price: $350,000, www.tiffany.com www.operanews.com CLOCKWISE FROM TOP LEFT: VINCENT WULVERYCK © CARTIER; COURTESY GRAFF DIAMONDS; © BEATRIZ SCHILLER (FAUST ONSTAGE); CARLTON DAVIS/TIFFANY & CO.; COURTESY DE GRISOGONO p.38 A new opera season is beginning. Do you need some new jewels for opening night? Wouldn’t it be the picture of a “rêve charmant” if, like Faust’s Marguerite, you were given a chest full of dazzling diamonds and precious stones? Maria Mazzaro visits Faust’s jewel song to pair some modern-day bijoux with lyrics from Gounod’s golden-age gem. Soprano Superpower DAMRAU BY BRIAN KELLOW p.32 September 2015 www.operanews.com INDEX 941 774 662 616 524 482 404 351 327 191 117 Heavy household expenditures on Artwork & Collectibles in past year MAGAZINE ARCHITECTURAL DIGEST OPERA NEWS NEW YORK MAGAZINE TOWN & COUNTRY WINE SPECTATOR HARVARD BUSINESS REVIEW THE NEW YORKER VANITY FAIR CONDÉ NAST TRAVELER FORBES TRAVEL & LEISURE INDEX 407 381 378 355 330 294 286 267 242 234 228 Source: 2014 IPSOS Affluent Survey; Opera News publisher-defined prototype. Competitive set includes Architectural Digest, Condé Nast Traveler, Forbes, Harvard Business Review, New York Magazine, The New Yorker, Opera News (prototyped), Town & Country, Travel + Leisure, Vanity Fair, Wine Spectator. Circulation OPERA NEWS New York, New York 10023-6593 AUDIT REPORT Magazine FIELD SERVED: A magazine for America’s opera audience: News, pictures, profiles and commentary, radio and television coverage of opera at leading theatres; reviews and editorial comment on home recording equipment and recordings of opera and related music. AVERAGE CIRCULATION FOR 12 MONTHS ENDED DECEMBER 31, 2014: CIRCULATION ENGAGEMENT 1. TOTAL AVERAGE PAID & VERIFIED CIRCULATION Paid & Verified Circulation: (See Par. 6) Subscriptions: Paid Verified Total Paid & Verified Subscriptions Single Copy Sales Total Paid & Verified Circulation Paid & Verified Rate Base: # Above/Below Rate Base (+/–) % Above/Below Rate Base (+/–) Audited Circulation Publisher’s Statement Claim Difference % of Difference 82,434 19,017 82,056 19,044 378 -27 0.5 -0.1 101,451 642 101,100 609 351 33 0.3 5.4 102,093 100,000 2,093 2.1 101,709 384 0.4 Circulation 2. PRICES Average Single Copy Subscription Average Subscription Price Annualized (12 issue frequency) Average Subscription Price per Copy (1) For the Report period (2) Represents subscriptions for the 12 months ended June 30, 2014. A monthly magazine published by the Metropolitan Opera Guild, OPERA NEWS is a national niche title for the opera enthusiast. OPERA NEWS delivers a passionate audience who spend an average of 1.9 hours with each issue. Suggested Retail Prices (1) $5.99 $45.00 Average Price (2) Net Gross (Optional) $21.49 $1.79 AAM DEC 2014 AUDIT: RATE BASE: SUBSCRIPTION RENEWAL RATE: 102,093 100,000 65% Reader Survey Results TIME SPENT WITH MAGAZINE: READ 4 OUT OF 4 ISSUES: READERS PER COPY: 1.9 hours 83% 1.5 Source: 2010 Reader Survey Henry Stewart knocks the top off Rossini’s underperformed masterpiece. G U I L L AU M E T E L L b y G I OAC H I N O R O S S I N I First Performances S H T U O Y By Brian Kellow P H O T O G R A P H E D B Y D A R I O A C O S TA I N N E W Y O R K Top and skirt by H A L S T O N H E R I TA G E tShoes by S T UA R T W E I T Z M A N Pendant necklace, ring and earrings by B U L G A R I tMakeup and hair by A F FA N M A L I K Clothes styled by B R A N DY K R A F T 32 OPE R A N EWS / S E P T E M B E R 2 0 1 5 Everyone knows the story of the guy who shot an apple that was sitting atop somebody’s head. Fewer know the full legend of the archer, a political rebel who helped to unite Switzerland in the fourteenth century. Though the opera is based on an 1804 play by Schiller, the story originated hundreds of years earlier. Tell’s folk-hero popularity was renewed at the turn of the nineteenth century, in part as a result of postNapoleonic patriotism. The opera advocates putting politics first, arguing that all else follows. Unlike, say, Bellini’s Norma, who selfishly uses politics for her own romantic ends and winds up dead, Arnold forswears love for duty, and Tell does what’s right for his country before his family; in the end, they both get everything they want and live happily ever after. William Tell. PRINCESS Adam Wasserman speaks to cutting-edge composers Missy Mazzoli and Corey Dargel. S E P T E M B E R 2 0 1 5 / OPE R A N EWS 33 Two of the most compelling compositional voices to have emerged from Brooklyn in recent years are Missy Mazzoli and Corey Dargel, who each present their own brands of modern vocal music that are equally at home in the opera house, the concert hall and the performance-art space. Dargel composes delicate songcycles that express their preoccupations (anxiety, illness, technology) with deadpan vocal style and an intricate chamber accompaniment. Mazzoli’s palette is wider and more overtly dramatic, revealing an interest in strong female characters at the center of expansive sonic land- scapes populated with ethereal electronics and organic instrumental dissonances. This month, Mazzoli’s Song from the Uproar, about the radical life of Isabelle Eberhardt, plays at LA Opera, and she’s currently at work on an opera adaptation of Lars Von Trier’s Breaking the Waves for Opera Philadelphia, planned for 2016. Dargel moved to Austin, Texas, in 2015 after releasing his latest album of songs, OK It’s Not OK; he’s currently developing a new music-theater piece called The Three Christs. OPERA NEWS spoke with both composers this summer. PHOTOGRAPHED BY DARIO ACOSTA IN NEW YORK The Basics The expert Swiss bowman of the title overthrows an Austrian tyrant, in part by shooting an apple off his own son’s head. The work, written in French, had its premiere in Paris on August 3, 1829; an Italian version, Guglielmo Tell, made its debut in 1831 and quickly became more popular. In Time and Place Rossini was a popular and prolific composer, writing thirty-nine operas in less than twenty years, most of them hits, including Il Barbiere di Siviglia. William Tell is his magnum opus, a dramatically profound work of music and theater, and something of a careercapping final statement — it was his last opera, though he lived almost another four decades and wrote some songs, piano music and religious works while suffering from manic depression, obesity, emphysema and chronic gonorrhea. The reasons for his retirement still divide historians. In 1868, he died, after two surgeries for colorectal cancer left him with a fatal infection. 16 OPERA NEWS / SEP TEMBER 2015 its second season, the Met performed Tell in German (as was the company’s custom at the time) for the work’s house debut in November 1884. Tell was first performed in New York in another language — English! — in 1831. The opera is often truncated, because it contains Götterdämmerung amounts of music; its length — as well as changing tastes and other factors that condemned Rossini’s noncomic works to obscurity until the 1960s — has contributed to its rareness, especially in the past eighty years: it’s been seen at the Met only thirty-one times, the last time in 1931, around the time it also fell out of the Parisian repertory. Something Completely Different Reactions “I must admit that the whole piece is rendered with unquestionable superiority, such verve as Rossini had not yet shown,” Berlioz wrote, “and that the William Tell overture is a work of immense talent that resembles nothing so much as genius.” History has generally agreed, but there have also been detractors, including a character in the hardboiled novelist James M. Cain’s Serenade, who tells another, “The William Tell Overture is the worst piece of music ever written.… There’s no music in it of any kind.” The interlocutor more or less agrees — even though he spends the next several pages championing Rossini! (Mario Lanza played the character in the 1956 film adaptation, which had hardly anything to do with the 1937 homoerotic source novel.) www.operanews.com Surprise Showstopper Spoiler Alerts Hit Tune The emotional and symphonic four-part overture is far better known and more often programmed than the opera itself. It’s best known for the brassy, galloping finale, “March of the Swiss Soldiers,” made iconic for whole generations as the theme for The Lone Ranger; thereafter, it became every unimaginative music editor’s go-to for chase scenes — or, in the case of Stanley Kubrick’s Clockwork Orange, a fastmotion sexual encounter with multiple partners. Tell and the romantic hero, Arnold, represent, respectively, the opera’s central concerns — political and romantic freedom. Their first duet, “Arresta.… Quali Sguardi” (or, en français, “Où vas-tu?… Quel transport t’agite?”) makes the conflict plain, as Arnold worries about his forbidden love for the evil governor’s daughter and Tell urges him to join the rebellion. The shifting musical styles across nine minutes evoke the rhythms of conversation. When Woody Allen used it in Match Point, while Jonathan Rhys Meyers and Scarlett Johansson French kiss at the Royal Opera House, he stripped it of its political meaning, merely making use of its romance. In Pop Culture © Walt Disney Pictures/Photofest (Band Concert); © ABC/Photofest (Lone Ranger), Photo by Duffy/© Getty Images (Burroughs), Opera News Archives (Duprez), © AF archive/Alamy (Match Point) Di Operapedia: THERE ARE SINGERS who captivate us with their pure vocal beauty, and there are singers who overwhelm us with their heart and generosity. Then there are those whose keen intelligence, revealed from one stage moment to another, is what we remember most. They may have beautiful voices too, but it is their uncanny ability to illuminate their roles, both powerfully and subtly, that lingers. Some of the smartest stage performers of the past few decades include Hildegard Behrens, Régine Crespin, Elisabeth Söderström, Lauren Flanigan, Jon Vickers, Thomas Allen, Simon Keenlyside and Gerald Finley. © akg-images/De Agostini Picture Lib./M. Nascimento (Tell statue); © age fotostock Spain, S.L./Alamy (Rossini); © Warner Bros/Photofest (Lanza) Diana Damrau brings transparent beauty and brainpower to everything she sings. Next month, the German soprano returns to San Francisco Opera as Lucia di Lammermoor. In December, she sings the Hindu princess Leïla in the Met’s first production of Bizet’s Pêcheurs de Perles in a century. While the finale may be the most famous segment of the overture, it features several other well-known parts, including a mournful prelude for sonorous strings. It was inventively arranged for horns for the 1935 Walt Disney short “The Band Concert,” in which conductor Mickey Mouse tries to prevent a fluteplaying Donald Duck from interrupting his ensemble’s performance of the overture, from the Ranz des Vaches (with its instantly recognizable melody, aurally synonymous with waking up) to the Storm. Mickey’s mere performance of the latter generates a towndestroying tornado. www.operanews.com The Performance We Wish We’d Seen The beat writer William S. Burroughs attempted his own William Tell in a Mexico City apartment in 1951, eight years before he published Naked Lunch.. Burroughs, drunk, asked his wife, Joan, also drunk, to balance a glass on her head, then stood about nine feet away and fired his pistol. (Burroughs was a gun nut, armed more often than not.) He missed the glass by a few inches, instead hitting his wife in the forehead. She died, and he fled the country; in absentia, he was convicted of manslaughter and sentenced to two years, which he never served. “It was the greatest triumph of the sort that I had ever seen at the Opéra,” wrote Berlioz in 1837 of tenor Gilbert Duprez’s performance in Paris as Arnold, in which the singer sang his high notes from the chest, which he was the first to do. Berlioz described it like it was the Beatles at Shea Stadium, the crowd going so crazy you couldn’t even hear the music, and he compared its extraordinariness to the French premiere of Beethoven’s Fifth (you know, just one of the greatest pieces of music ever). “Art cannot, must not, venture any further,” he wrote. Where It Is This Season Following a controversial production at Covent Garden this summer, Tell opens the season this month in Geneva, suggesting that the Swiss shaftsman’s story still resonates there. No more productions are scheduled until March, when the Germans undertake it in Hamburg. This opera deserves more! SEP TEMBER 2015 / OPERA NEWS 17 Connectivity DIGITAL CONNECTION OPERANEWS.COM provides exclusive access to Opera stars pose for “self ies” at the OPERA NEWS Awards breaking news, premiere audio and video clips, extensive performance and recording reviews and detailed listings of upcoming vocal performances around the world. Circulation MONTHLY UNIQUE VISITORS: MONTHLY PAGE VIEWS: DEPTH: TIME SPENT: Source: Google Analytics July 2015 62,035 112,151 4.5 pages 5.1 minutes 10,609 FANS 34,317 FOLLOWERS Partners SPECIAL EVENTS Premium Audience A partnership with OPERA NEWS means elegant, unique sponsorship opportunities customized to meet your business goals and objectives. Ranging from large-scale luxury events to exclusive tours and intimate cocktails, an event with OPERA NEWS ensures exposure to an audience of passionate, affluent lovers of culture and the arts. IZkmg^klabi[^g^Ómlbg\en]^ma^^qihlnk^h_rhnk[kZg]mhZgbgÔn^g& mbZeZn]b^g\^%ma^hiihkmngbmrmhikhob]^OBI\eb^gmlpbmaZngbjn^^q& i^kb^g\^Zg]mh^lmZ[eblak^eZmbhglabilpbmaik^lmb`bhnlZmm^g]^^l' IZ`bg`\hffbmf^gmZg]lihglhklabi_^^lmh[^]^m^kfbg^]' Princess Madeleine of Sweden The OPERA NEWS Awards at the Plaza’s Grand Ballroom PARTNERSHIP OPPORTUNITIES OPERA NEWS Awards Sponsorship Metropolitan Opera Guild Education and Community Programs Backstage Tours of the Metropolitan Opera House Private Dinner or Cocktail Receptions Tickets to Metropolitan Opera Performances Metropolitan Opera Guild Annual Members Luncheon Bespoke Cultural Events OPERA NEWS Awards hosts David Hyde Pierce and Joyce DiDonato How to Buy 2016 Print Rates 4-COLOR 1X 3X 6X 9X 12X FULL-PAGE $17,500 $16,975 $16,450 $15,925 $14,875 2/3 -PAGE $13,640 $13,230 $12,820 $12,410 $11,595 ½-PAGE $11,200 $10,865 $10,530 $10,190 $9,520 1/3-PAGE $8,580 $8,325 $8,065 $7,810 $7,295 COVER 2 $21,875 COVER 3 $20,125 COVER 4 $22,750 2-COLOR 1X 3X 6X 9X 12X FULL-PAGE $12,830 $12,445 $12,060 $11,675 $10,905 2/3 -PAGE $10,460 $10,145 $9,830 $9,520 $8,890 ½-PAGE $8,610 $8,350 $8,095 $7,835 $7,320 1/3-PAGE $6,320 $6,130 $5,940 $5,750 $5,370 1/6-PAGE $2,640 $2,560 $2,480 $2,400 $2,245 B&W 1X 3X 6X 9X 12X $11,725 $11,375 $11,020 $10,670 $9,965 2/3 -PAGE $9,140 $8,865 $8,590 $8,320 $7,770 ½-PAGE $7,500 $7,275 $7,050 $6,825 $6,375 FULL-PAGE 1/3-PAGE $5,750 $5,580 $5,405 $5,235 $4,890 1/6-PAGE $2,465 $2,390 $2,320 $2,245 $2,095 All rates listed are gross; reduce by 15% to reflect net cost. Invoices are rendered on or about the on-sale date of the magazine. Pre-payment needed for first-time advertisers. Jonas Kaufmann Ad Specs PRINT SPECIFICATIONS Basics TRIM SIZE: PERFECT BOUND 7 7⁄8" X 10 ½" Ad Sizes FULL PAGE / COVERS BLEED FULL PAGE/COVERS 2/3 PAGE ½ PAGE VERTICAL ½ PAGE HORIZONTAL 1/3 PAGE VERTICAL 1/3 PAGE SQUARE 1/6 PAGE Spotlight 7 7⁄8" X 10 ½" 8 1⁄8" X 10 ¾" 4 7⁄16" X 9 ½" 4 7⁄16" X 7 3⁄8" 6 ¾" X 4 5⁄8" 2 1⁄8" X 9 ½" 4 7⁄16” X 4 5⁄8" 2 1⁄8" X 4 5⁄8" by ERIC MYERS The soprano shares her favorite places in the Imperial City of Austria DANIELLE DE NIESE has many fond memories of Vienna, a city that has played a major part in her career. Her connection with the city will likely continue: at the Theater an der Wien, she has already appeared in a series of Handel productions — Serse, Ariodante and Rodelinda, with Robert Carsen’s Agrippina coming up next year, and she is scheduled to make her Staatsoper debut, as Don Pasquale’s Norina, in two years. “As a singer,” she says, “traveling around the world, you find that there are a few places that really feel like home. Vienna is one of those to me. I was there long enough to get quite established, and I always look forward to going back.” In her student days, at twenty, she first arrived there to study German. Like most visitors, she was instantly seduced by its charm and visible history. But she didn’t stay long; an offer to appear in a small role as an opera singer in the film Hannibal, the Silence of the Lambs sequel, sent her to Florence after three weeks. “I hadn’t completed my language course, so I had this unfinished business — I needed to go back to Vienna under the radar and finish my schooling. I really did fall in love with the city. There’s a lot of culture there, and a lot of love for classical music. I just connected with the city from that age onward.” For opera-lovers there is no better city, with ten months of performances per year at the Staatsoper, all of them featuring world-class stars. (And that doesn’t count the Volksoper or the Theater an der Wien.) De Niese rents a charming place that overlooks the Naschmarkt, Vienna’s historic food market. Such proximity allows de Niese to do a lot of her own cooking. “I love shopping there,” she says. de Niese in Handel’s Rodelinda at Theater an der Wien, 2011 GUTTER CREDIT Danielle de Niese in Vienna © WERNER KMETITSCH (RODELINDA); © MICHAEL REINHARD/CORBIS (GRABEN); © NATIONAL GEOGRAPHIC IMAGE COLLECTION/ALAMY (SACHERTORTE) ROAD SHOW: “It’s very lively, and you can buy the most beautiful produce in season.” But she also loves the local restaurants, where you can enjoy one of the world’s vaunted cuisines. “Oh yeah!” she says with a laugh. “For schnitzel, I think Figlmüller is just the best. You go in, and you order the same thing every time — schnitzel with potato salad, and a green salad on the side. It’s the best you’ll find. I send all my friends there when I know they’re going to Vienna. I also send them to Plachutta for tafelspitz, the classic Austrian dish of boiled beef. It comes with lovely spinach and applesauce and sour cream.” She’s also a fan of the historic Café Sperl, near the Theater an der Wien. But you can find plenty more than just Austrian cuisine in Vienna. “There are two really fantastic Italian restaurants that all the singers go to. One is called Ristorante San Carlo, and it’s right across from the Staatsoper. I know the owners; it’s been there forever. Also, Ristorante Sole is fantastic, on Annagasse. And here’s a bit of an unusual one. I was exercising, taking a jog down the Linke Wienzeile, and across the way I saw something I really never would have expected to see in Vienna — a Sri Lankan restaurant! My parents were born in Sri Lanka, mixed with Dutch and Scottish heritage. And there aren’t a lot of Sri Lankan restaurants in the world.… It actually has really spectacular Sri Lankan food. You don’t really think of multicultural representation in Vienna, but there it was! It’s called Colombo Hoppers.” De Niese enjoys spending her free time in Vienna in places like Schönbrunn Palace and the Vienna Woods. But she also enjoys the city’s wilder side. “I’ve become the worst night owl in Vienna,” she says slyly. “I was taken out by some Viennese www.operanews.com FORMAT AND PREPARATION: Ads should be submitted as high-quality PDFs (preferred format is PDF/X1-A) Four-color ads must be CMYK only, with no RGB or LAB elements Black-and-white ads must be set to Grayscale All art and images must be at least 300 dpi Maximum ink density must not exceed 320% Safety: keep live matter 1⁄2" from sides/gutter Allow 1⁄8" on all sides for bleed ads friends after a performance, and we went clubbing and wound up in an underground Metro club. We didn’t drink anything — we were just having a good time dancing — but it was so wonderful. You think Vienna’s very traditional and set in its ways, and in some ways it is. But in other ways it can be quite surprising.” She indulges in shopping as well. “I went to buy these beautiful Austrian jackets in a shop called Kettner just behind the Staatsoper. They have loden hats, lederhosen — all kinds of exquisitely made Austrian clothing. I bought things there that have kept so beautifully over the years.” But perhaps her favorite Viennese indulgence is a sachertorte, right from the Hotel Sacher, across from the Staatsoper. “I went so crazy for the sachertortes that I brought them back to England for my wedding-rehearsal dinner. Viennese pastries and desserts are fantastic, but I think nothing quite tops the sachertorte.” Eric Myers has contributed articles to Playbill, Time Out New York and The New York Times Magazine and Arts and Leisure section. Vienna Picks RISTORANTE SAN CARLO Mahlerstrasse 3A, 1010, 43-1-513-8984 www.san-carlo.at RISTORANTE SOLE Annagasse 8–10, 1010, 43-1-513-4077 www.ristorante-sole.at Restaurants PLACHUTTA Wollzeile 38, 1010, 43-1-512-1577 www.plachutta.at/en FIGLMÜLLER Wollzeile 5, 1010, 43-1-512-6177 www.fieglmueller.at/en COLOMBO HOPPERS Schönbrunnerstrasse 84, 1050, 43-1-545-4308 www.colombohoppers. com/at/en Shopping KETTNER Plankengasse 7, 43-1-513-2239 www.kettner.com Hotel SACHER Philharmoniker Str. 4, 1010, 43-1-514-560 www.sacher.com CAFÉ SPERL Gumpendorferstrasse 11, 1060, 43-1-586-4158 www.cafesperl.at O C TOBER 2015 / OPERA NEWS 19 .com Full-page ads must be submitted to bleed size with crop marks indicating trim size Inserts jog to the foot when trimming; specifications/rates for pre-printed inserts supplied on request. 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