![]() I don’t know yet if we’re cultivating the next big donor.” It’s creating that connector, to see how committed they are,” Tomassian said. “We wanted to winnow it down to the people most interested in helping the opera succeed. Center Stage members plan every element of the annual Opera Ball, and the group’s chair becomes a voting member of the executive committee. Members of the Center Stage Board Associates give $1,500 each season to serve as “young ambassadors” to Cincinnati Opera’s board of trustees. “For me, it was about encouraging people to give their first gift to the opera, and then we can take it to the next level.” “There was (internal) friction over the question of whether this was about selling more tickets or raising money,” said Sneja Tomassian, who has worked 13 years with the Cincinnati Opera, the past three as director of development. The Cincinnati Opera’s Center Stage program began as a discount incentive program for returning subscribers aged 25 to 40 but has evolved into a program cultivating future board members. While nonprofits of all sizes are concerned with cultivating the supporters of tomorrow, only organizations with the largest staffs and budgets can commit the resources to experiment with programs that nurture younger donors without compromising relationships with older devotees. These range from social groups catering to young professionals, happy hour-styled events promising behind-the-scenes access and plenty of networking opportunities, incentives for long-term attendance and other enticements that, two decades ago, were only offered to top-tier donors. The earliest local efforts to woo donors under 40 date to the 1970s, though most have only taken shape in the past several years. Leaving nothing to chance, major arts organizations in Cincinnati and around the country have launched singular campaigns and permanent programs and rethought their pipelines to leadership, all to build relationships with millennials and the people of Generation Y who, someday, will consider substantial levels of giving. People grow into appreciating civic treasures.” “Talking about the next generation has probably been a conversation with every generation, wondering whether people will pick up the torch,” he said. ![]() There’s no covering the fact these are tough losses,” said Kirby Neumann, who leads the development department of the Cincinnati Art Museum. “Those are the names of people who’ve built the great institutions of this city. Those charged with cultivating and nurturing donors to Cincinnati’s major cultural institutions face a daunting concern: Attracting younger supporters-professionals in their 20s to 40s-and inspiring the kind of loyalty that breeds the next Corbetts, Nipperts and Rosenthals of Cincinnati. Still, they represent a withering generation of philanthropy. Otto Budig and a few other longtime, deep-pocketed supporters are very much alive and giving, as are the foundations endowed by the Hailes and others that are still bedrocks of local cultural funding. ![]() Bill Friedlander died in September of this year. In August came the sudden closure of the Corbett Foundation-Ralph and Patricia Corbett, who died in 19, respectively, gave $70 million to local arts colleges and organizations over the previous six decades. Louise Nippert followed in July 2012, just after giving the Cincinnati Symphony Orchestra $85 million-one of the largest single gifts on record to any American arts organization. Carl Lindner and Luba Dorman died in June 2011. If eligible, competitive benefit package for Sales Associate may include: 401(k), Life, Medical, Dental, Vision, Disability Insurance, PTO/PTO-Sick, and Employee Discounts.CINCINNATI - Each death notice has hit Cincinnati’s arts community like a nail in the coffin of an era:Ĭarol Haile in 2004, followed two years later by her husband, Ralph.
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