WHY I BUILT THIS
My first opera was Aida — a dress rehearsal in the Arena di Verona, the Roman amphitheatre that still hosts a festival of operas every summer. I was a high school student studying abroad, living with an Italian family. My host brother was a violist — I played the viola myself, back home in high school — and I tagged along to his rehearsals and concerts across the Veneto — Vicenza, Padua, Treviso, and small towns where the concert hall was the church.
The music stayed with me. The words were another matter: Italian I could follow, but Carmen’s French and Mozart’s German went right past me. Opera Moments is what I built to fix that. Now I hear every line in my own language, and the operas I thought I knew have become something far richer.
I want everyone in your audience to feel that.
— Harrison Tran, creator of Opera Moments
YOUR AUDIENCE, AND WHERE WE FIT
1 · Where are you today?
Your emails already name the famous arias, but the music isn’t in them. Your pre-show talk points out the moments to listen for, for the few who arrive an hour early. Your subtitles are in English. And your thank-you note says “keep the magic going” — but offers a ticket package, not the music.
2 · Where do you want to be?
Give your audience the gift of the music itself.
Imagine Maria, one of your ticket holders.
- Before the night — your email arrives, and she hears the Habanera: every word in her own language, timed beautifully to the singing. She knows the story, recognises the arias, and counts the days to opening night.
- The night — phone away. The music feels like an old friend.
- After — the afterglow doesn’t fade on the drive home. She plays the scenes again and relives the night.
- Season after season — she loves opera a little more each time, and she keeps coming back.
3 · How do we get there?
Through the emails and talks you already give — and one app in your audience’s pocket.
What you do — minutes, not days
- Pre-show emails: a free 30-second preview of the moment to listen for. They hear it, with every word in their language.
- Know-before-you-go: the three moments to listen for, ready to play.
- Pre-show talk: your speaker points to the QR on the screen — “hear tonight’s moments again at home.”
- Thank-you email: “Relive tonight” — the scenes, at home.
- Community events and lobby tables: a printed QR, and your staff helping people try it on their own phones — a free preview, every word in their language.
- We write the words and make the QR codes; you paste them in. One code per production — a Carmen code, a Nabucco code — and scanning opens the app with your code already in place. Nobody types anything.
What your audience does
- That night — home, still humming, she plays the Habanera again.
- The next weekend — the iPad on the kitchen counter while she cooks or tidies. The opera plays; the words are there whenever she looks up.
- Weeks later — her favourite moments, one tap away. Every listen deepens what she saw on stage.
- Before your next production — a first taste, weeks ahead.
Opera Moments is for home. Never for use in the hall.
4 · How do you monitor results?
Numbers you can check — from Apple, not from us.
Counted exactly
- Every opera bought through your code — units and dollars, by production and by opera. Your sales carry your house’s name in Apple’s own sales report, so nothing rests on our word.
- Your share — a statement every month, paid the week Apple pays us.
- A report when each run closes — what that production earned, from three weeks before opening night to two weeks after closing.
Counted as a guide
- Scans and downloads by placement — email, programme, screen slide: each gets its own link, so you can see which one works best.
WHY WE NEED YOU
You have the audience. We have the music and the words.
Opera Moments is free to download; each opera inside it is $4.99. The hardest part for us is reaching the people who love opera — and nobody reaches them like you do. So we’d like to do it together.
Here is our offer: while your production runs, the sales are yours. Every opera your audience buys through your code, from three weeks before opening night to two weeks after closing, earns your house everything we receive after Apple’s fee. After that, their future operas come to us. You put the app in their hands; we earn their next opera.
Already has the opera? Your code still counts for every other opera they buy during your run. And your email can carry your own donation link right beside our QR — “Already listening? Help bring the next production to the stage.” Every dollar goes straight to you.
What your house gets
- An audience that arrives prepared and enjoys the night more
- An audience that comes back, season after season
- A way to reach your city’s communities in their own language
- Something worth sending in every email, all year
- A steady side income — counted by Apple, paid monthly
- Nothing to build, no staff time — and you can stop at any time
THE OPERAS WE ARE PREPARING
Today: Carmen and The Magic Flute, complete — every line, in eight languages. Next, the forty operas American houses stage most often, drawn from the seasons of twenty opera houses, 2021–2026.
- AidaVerdi · 1871
- Ariadne auf NaxosStrauss · 1916
- The Barber of SevilleRossini · 1816
- Bluebeard’s CastleBartók · 1918
- La bohèmePuccini · 1896
- CarmenBizet · 1875Ready
- Cavalleria rusticanaMascagni · 1890
- La CenerentolaRossini · 1817
- Così fan tutteMozart · 1790
- Don CarloVerdi · 1867
- Don GiovanniMozart · 1787
- ElektraStrauss · 1909
- L’elisir d’amoreDonizetti · 1832
- Eugene OneginTchaikovsky · 1879
- FalstaffVerdi · 1893
- FidelioBeethoven · 1805
- La fille du régimentDonizetti · 1840
- The Flying DutchmanWagner · 1843
- Hansel and GretelHumperdinck · 1893
- MacbethVerdi · 1847
- Madama ButterflyPuccini · 1904
- The Magic FluteMozart · 1791Ready
- The Marriage of FigaroMozart · 1786In progress
- NabuccoVerdi · 1842In progress
- Orfeo ed EuridiceGluck · 1762
- PagliacciLeoncavallo · 1892
- Pelléas et MélisandeDebussy · 1902
- Das RheingoldWagner · 1869
- RigolettoVerdi · 1851
- RodelindaHandel · 1725
- Roméo et JulietteGounod · 1867
- Der RosenkavalierStrauss · 1911
- RusalkaDvořák · 1901
- SalomeStrauss · 1905
- Samson et DalilaSaint-Saëns · 1877
- ToscaPuccini · 1900
- La traviataVerdi · 1853
- Tristan und IsoldeWagner · 1865
- Il trovatoreVerdi · 1853
- TurandotPuccini · 1926In progress
Staging something else? Tell us — your season moves to the front of the line.
We can only carry operas whose music and words are free of copyright, so newer works such as Candide or Porgy and Bess have to wait.
WHO WE ARE
Opera Moments is made by SoCal Decals, a California company based in Los Angeles County, created by Harrison Tran — a lifelong lover of opera and classical music. We are local, we come to meetings in person, and we answer our own email.
LET’S TALK
Fifteen minutes is enough to show you. In person or on Zoom.