As a resident of Grand Rapids, I've always been captivated by the grandeur of the Opera Grand Rapids building. Its elegant architecture and giant windows into the rehearsal hall make it an iconic landmark. I couldn't help but wonder why this beautiful venue appears so underutilized, especially when it could be a vibrant hub for the community.
Opera Grand Rapids, a nonprofit dedicated to delivering opera to the masses, has a captivating tale to tell, not in a libretto, but in financial statements. My curiosity about the opera house recently took a financial twist when I reconnected with a former OGR chorister. With rumors swirling in the background from other choristers, it was time to take a look at the public tax records. Here is a summary of the trends from those documents:
A Decade of Negative Net Income Over the past decade, the organization has consistently reported net losses. In 2013, their net income stood at a disheartening -$88,794, signaling early financial distress. Sifting through their annual financial reports, a striking trend emerges. Opera Grand Rapids has reported negative net income in most of the years from 2012 to 2021.
Summary from Pro Publica:
· Fiscal Year Ending July 2021: Net Income was -$203,482 (+ES)
· Fiscal Year Ending July 2020: Net Income was $384,496 (+ES)
· Fiscal Year Ending July 2019: Net Income was $14,015 (+ES)
· Fiscal Year Ending July 2018: Net Income was $59,486 (*AB)
· Fiscal Year Ending July 2017: Net Income was $66,329 (*AB)
· Fiscal Year Ending July 2016: Net Income was -$240,729 (*AB)
· Fiscal Year Ending July 2015: Net Income was -$108,603 (*AB)
· Fiscal Year Ending July 2014: Net Income was -$47,277 (*AB)
· Fiscal Year Ending July 2013: Net Income was -$88,794 (*AB)
Leadership Changes Anne Berquist* served as Executive Director from 2013 to 2018. A pivotal moment came when Emily Syrewicze+ took the reins in 2019. The organization faced a challenging financial climate, with net losses continuing to accumulate. During the last 18 months, the entire staff under the current executive director has left the organization. In November of 2023, Syrewicze received an award for leadership, but who is left that she is leading? Syrewicze and Maestro Meena are the only staff listed on the website. (After publishing, Maestro is no longer listed on the website)
The Dominance of Contributions As a non-profit entity, Opera Grand Rapids relies heavily on contributions, and the figures from recent years highlight the financial strain they've endured. Contributions appear to be the prima donna of Opera Grand Rapids' revenue sources, taking the lead role in their financial structure. It piques our interest: Are there opportunities to diversify revenue streams, reducing dependence on donors and mitigating financial volatility? (Yes, see below)
Executive Compensation The ensemble behind the scenes, represented by key executives, plays a crucial role in an organization's success. Opera Grand Rapids is no exception. Their financial reports highlight notable sums allocated to executive compensation. It raises the question: Is the compensation commensurate with the financial health of the organization? Berquist received an annual salary of around $70,000 while Syreqicze receives over $100,000 according to the public 990 forms available.
Expenses Overtaking Revenue We understand the huge challenges related to COVID and were very impressed with the way OGR pivoted and was a leader in the industry during shelter-in-place! More live broadcasts to my living room, please! One of the most curious notes in Opera Grand Rapids' financial symphony is the number of years when expenses overtake revenue.
Cultural Insensitivity and the DEI Statement In the arts, cultural sensitivity is paramount. Just a few months ago, Opera Grand Rapids found itself in a situation that might not have received the public attention it deserves. During their production of Aida, pictures surfaced that captured ensemble performers wearing heavy bronzer and black wigs, likely to make them appear more Egyptian, despite being white. In the musical theatre world, we understand the harmful history of Minstrel performing and Blackface. Were a production of the musical adaptation of Aida to be presented in the same manner, there would be a community outcry. In previous seasons, OGR programmed Gilbert and Sullivan's Mikado without the use of Yellowface. Later in the season, a white woman played the role of Turandot, an opera that displays many harmful stereotypes during the stop Asian hate movement. Adding insult to injury, sharing posts on social media that they were one of only 3 opera companies to program this opera displayed incredible willful ignorance.
While these incidents may not have made headlines, it is important to acknowledge that they directly contradict Opera Grand Rapids' stated commitment to Diversity, Equity, and Inclusion (DEI). It serves as a stark reminder that embracing diversity and respecting cultural boundaries is not only an artistic responsibility but one that is required for authentic storytelling. We recognize the importance of fostering a culture of awareness and understanding within the arts community. We encourage OGR and its leadership to have an honest self assessment and re-evaluate what needs to happen in order to put their DEI statement into action.
Missed Opportunities The building itself is a gem, with a spacious opera center that could be a hub for artistic and community events. Its central location and stunning features are a winning combination. Yet, the space remains largely vacant, illuminated only briefly before the occasional performance. The primary reason behind this underutilization may be their rental fees.
To rent the Opera Grand Rapids space for an entire weekend costs a staggering $3,000. Smaller venues within the facility, like the Violet Wondergem Rehearsal Hall, are equally steep. With high costs, Opera Grand Rapids risks limiting access to this cultural jewel.
But what if we could find a balance? Opera Grand Rapids could consider collaborating with local organizations. By opening their doors to the community, they might alleviate the financial burden while contributing to the cultural richness of Grand Rapids. The benefits are numerous – additional revenue, a more vibrant arts scene, and stronger community bonds.
In this financial opera, "the math isn't mathing," and that's where our curiosity deepens. To uncover the full story behind Opera Grand Rapids' finances, a comprehensive analysis would be needed. Could additional funding sources, cost-saving measures, or strategic changes be part of the future libretto? I walk past the Opera Center every day, and seeing the space underutilized (and they don't pay taxes on the building) is extremely frustrating.
We are left with these and many more questions, eager to learn more about the financial dynamics of this cultural treasure. Opera Grand Rapids' financial journey is an ongoing saga, and we can't help but anticipate the next act in their financial performance.
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