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Bournonville’s Napoli, Act III, Streaming Sunday 7/26/20, for a Week(?)


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1 hour ago, Helene said:

What a finale!

Indeed! The male lead looked quite impressive in this act. (I haven't watched the other two.) While I'm grateful the company has released this video, I'd love to see more of him in higher-quality recordings (e.g. more close-ups, etc.).

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At the moment, what we have is the basic archival set-up for almost all companies, unless, like NYCB, they can get fancy for marketing purposes.  That's quite a range.

Given the pandemic, I hope there is grant money to amp up the equipment and filming budgets, because they could at least start to pay themselves off for companies who either charge or offer films to donors.

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26 minutes ago, Helene said:

Given the pandemic, I hope there is grant money to amp up the equipment and filming budgets, because they could at least start to pay themselves off for companies who either charge or offer films to donors.

Many of the organizations that fund dance-related non-profits are making efforts to address the impact of Covid-19, either by providing additional funding or by allowing their grantees to use their grant money to meet general operating expenses rather than for the artistic projects they'd hoped to pursue in 2020. At the moment, funders may see their immediate mission to be trying to keep their grantees afloat in the short term, but I wouldn't be surprised if there was heightened receptiveness to matters like resiliency or cultivating digital audiences going forward. 

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I'd be interested to see whether it's been worth it for organizations to stream under the following models:

1. Put it out, and hope people donate.

2. Put it out there, and hope people subscribe (Met Opera on Demand, Vienna State Opera)

3. Put it out there only for people who donate.

4. Paid streaming subscriptions.

Only the 2nd and 4th have been tested at all with new content, 2 with performances open over the weekend, 4 with a number of chamber groups and in Seattle Symphony's plans.

If these strategies would work for new performances where the audience can't be present -- ex: Seattle Symphony's first two phases -- then helping the organizations to fish, so to speak, by investing in the technologies means the organizations would be able to raise some revenue.  Some organizations sold subscriptions for next season, and some % of those funds plus credits issues from this season will be donated, although that money would be spent.  But I don't think that organizations, assuming they survive that long, can count on next year's subscription revenue and cash flow without more certainty for 2021-22.  Investment in technology may be the only hope outside windfalls.

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