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Organization DBA --
Former Names --
Organization received a competitive grant from the Boston Foundation in the past five years No


Mission StatementMORE »

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

Mission Statement

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

FinancialsMORE »

Fiscal Year July 01, 2014 to June 30, 2015
Projected Income $8,778,409.00
Projected Expense $8,415,532.00

ProgramsMORE »

  • Productions, Opera Annex, Education Programs

Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

For more details regarding the organization's financial information, select the financial tab and review available comments.


Mission Statement

The mission of Boston Lyric Opera is to build curiosity, enthusiasm,  and support for opera, by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond.  We produce opera in all forms, large to small, popular to less known, from early music to newly commissioned works.

Background Statement

In its 2014/15 Season, BLO – led by General and Artistic Director Esther Nelson, who was previously General Director of Glimmerglass Opera, one of the preeminent opera festivals in the United States - is part of a network of organizations that make Boston unique. The Company’s artistic profile under her leadership includes commissioned new works, productions of lesser-known repertoire, training opportunities for Emerging Artists, collaborations with local, national and international cultural institutions, and an expanded season from three to four productions. Last year, all four operas were new BLO productions. In 2010, the Company introduced Opera Annex, a program to stage fully produced operas in found spaces throughout Boston to inspire experienced operagoers and to welcome new audiences. This approach invites people to experience opera outside the traditional theatre environment, while offering a fully-staged performance of new or rarely-performed chamber operas. Opera Annex also serves as a platform for commissioned works such as Clemency in 2012 and the chamber version of the American 1960’s opera, Lizzie Borden. In 2009, BLO launched its partnership with the Museum of Fine Arts, Boston: the Signature Series which draws audiences for opera and fine arts alike. For more than ten years, BLO demonstrated its commitment to education with its Opera for Young Audiences program. More recently, in response to citywide initiatives and research on participatory learning, BLO adapted its educational model to emphasize students’ participation in, performance of, and creation of operas. BLO continues to offer a wide spectrum of education programming that serves families, youth outside the classroom, high school and college students, and adults with presentations, free dress rehearsal performances and lectures.

Impact Statement

Founded in 1976, Boston Lyric Opera (BLO) is New England's largest opera company, reaching over 40,000 people annually. Now in its 38th season, BLO celebrates the art of the voice through its mission of building curiosity, enthusiasm and support for opera by creating musically and theatrically compelling productions, events and educational resources for the Boston community and beyond. Recognized for its artistically exemplary productions, BLO entertains and inspires audiences with a diverse repertoire featuring emerging operatic talent and innovative productions of opera's oldest and newest masterworks. BLO presents four productions each season: three at the Citi Performing Arts Center Shubert Theatre in Boston and since 2009, Opera Annex, a contemporary work presented in an alternative space (this year, at Temple Ohabei Shalom in Brookline). BLO’s programming also includes support for Emerging Artists, concert performances such as its annual free performance at the Hatch Shell, lectures at the Boston Public Library and at partner organizations, and recordings.

Through its performances and programs, Boston Lyric Opera strives to be a regional resource for opera and acts as a gateway to an accessible and sustainable performing arts community where vibrant productions of various art forms, artistic and intellectual exchanges and educational programs are available to patrons of all ages and backgrounds. BLO’s in-school programs present the conventions of opera and provide teachers and students with the support and resources needed to create and perform original classroom operas, assuring high quality through the use of the nationally-recognized Music! Words! Opera! curriculum and offering its programs at no cost to partner schools.

Needs Statement

Capitalization: To ensure sustainability of the Company, BLO needs to raise endowment funds that will support the high standard of programming achieved over the past eight years and that will help to expand the artistic vision.

Artistic Planning. BLO needs funds to devote to the planning of upcoming seasons, enabling BLO to plan new productions, larger works, and commissions, continuing the momentum of the past few Seasons.

Support for Administrative Infrastructure. BLO is actively working to build the administrative infrastructure that will support an opera company for 21st century Boston, capable of reaching out to and serving the needs of diverse audiences. To achieve this goal, BLO needs assistance to invest in employee salaries, and build capacity to enable effective fundraising, marketing, and customer service.

Expansion of Education Programs. Additional funding would allow BLO to increase the number of students and teachers served, engage in more and deeper partnerships with regional community organizations, reach more Title 1 schools, and increase the diversity of its audiences.

Audience Development Technical Assistance, to enable BLO to work with experienced consultants on audience needs analysis and to survey audiences to best inform future planning.

CEO Statement

For 38 years, Boston Lyric Opera has demonstrated a careful and financially responsible progression in its artistic planning while gradually building an infrastructure to sustain a fully professional major opera company in Boston. Unique as the only New England opera company with this broader artistic focus, BLO has now identified a long-term goal to go one step further. Through regular presentation of an inclusive repertoire, it is BLO’s aspiration to sustain Opera Annex, build and deepen partnerships, and strengthen artistic planning so that we can see those big works we’ve been missing in Boston for some time. Boston has a proven interest in opera with high Met HD broadcast attendance, and a prevalence of over 30 producers of the art form, ranging from small to mid-size companies. BLO attracts over 40,000 people a year and has the largest opera audience in New England. BLO’s current primary challenge is to reach the next level of financial stability, one that will allow more frequent production of those major operas demanding the largest vocal and musical resources, such as The Magic Flute, Turandot, and Nixon in China, to name a few. These operas resonate with audiences present and future, and offer the full breadth of the art form. Combined with production of lesser-known and chamber works, and more frequent commissions, it is BLO’s commitment to bring opera’s full scale of potential to Boston. The past several seasons finished with surpluses, while in the last year BLO successfully secured two major challenge grants – sound evidence that we have the potential to deliver on this goal. We have weathered an economic recession, emerging with the critically-acclaimed Opera Annex series and a major four-year fundraising challenge. By gaining the capacity for the largest works, not only will we have over 30 producers of the art form here who present thought-provoking works, but we will also have an anchor for all this energy with the ability to experience the full breadth of the art from the small to the large. It is this unbounded pageantry – this transcendence into another world, and connection to the history of the human condition and how we express ourselves - that opera, particularly on a large scale, gives us. It not only expresses the present, it expresses our history. I believe that an appreciation of artistic history alongside expression of the present and future with all its complexity bring a fuller understanding through this art form. Boston is a world-class city, and it deserves a world-class opera community.

Board Chair Statement


Geographic Area Served

In a specific U.S. city, cities, state(s) and/or region.

BLO serves Greater Boston, New England, and national opera audiences as well as audiences from numerous countries outside the United States.

Organization Categories

  1. Arts,Culture & Humanities - Opera
  2. -
  3. -

Independent research has been conducted on this organization's theory of change or on the effectiveness of this organization's program(s)

Under Development


Productions, Opera Annex, Education Programs

BLO produces three operas a year at the Citi Performing Arts Center Shubert Theatre. The Company also offers its critically-acclaimed Opera Annex series, offering new or unusual opera in inspiring venues throughout Boston. BLO’s 2014/15 Season includes Verdi's La Traviata, Martin's The Love Potion (BLO's commissioned English-language translation is this Season's Opera Annex production), Janacek's Katya Kabanova and Mozart's Don Giovanni. BLO also engages over 20,000 community members, including K-12 students, teens, teachers, and adults, each year outside its performances, through artistic and community partnerships with the Museum of Fine Arts, Boston; Boston Public Library; Boston Landmarks Orchestra; Boston Public Schools, OPERA America, and Wheelock Family Theatre.

Budget  $6,846,164.00
Category  Arts, Culture & Humanities, General/Other Opera
Population Served Adults K-12 (5-19 years) College Aged (18-26 years)
Program Short-Term Success 

Boston Lyric Opera received national and international critical acclaim in the 2010-2011 Season. According to the New York Times in 2011, BLO will “catch the interest of operagoers around the country.” The Boston Music Intelligencer states “BLO has proven itself to be an innovative and professional company that is dedicated to sharp productions… Boston Lyric Opera is one of New England’s best cultural jewels. We are lucky to have it.” The Wall Street Journal described the 2011 production of The Emperor of Atlantis as “vivid…jolting.” According to Opera News, the Company’s Tosca had “…a strong cast, evocative production design and…solid playing from the orchestra.” EDGE Boston states that “BLO confirms its place as the city’s premier opera troupe.”

Program Long-Term Success 
After Esther Nelson’s arrival at the Company as General & Artistic Director in 2008, BLO has made transformational changes to the way it operates, including audience building through the new Opera Annex program in alternative spaces (sold-out performances and 90% of capacity in just the second year); a new Signature Series performance and lecture program in partnership with the Museum of Fine Arts, Boston (steadily increasing attendance); and a boost in new productions, collaborations, and artistic focus. Recent audience development initiatives have demonstrated that BLO is capable of attracting more diverse audiences to the art form. These include new student subscriptions, high attendance at free community performances (10,000 at a recent outdoor concert, the highest attendance on record for that annual free performance), and sold out Opera Annex performances. Over the past three years there has been a 7% increase in contributions, including a significant percentage from national foundations and the Board of Directors. The number of education and artistic collaborations has amplified as well, in depth and number. There has been a boost in free attendance from 4,000 people to 13,293; this is largely spurred by an increase of attendance at the free annual summer outdoor concert. The 2010 production of Tosca was the second most successful in single ticket sales for a six-performance run in BLO history. Press attention has magnified; the number of reviewers per event has risen from 18 at Opera Annex in 2010 to 24 reviewers for Annex in 2011. There has been an increase in average press reviews per production since 2008.
Program Success Monitored By  Self-Assessment: BLO Board and staff use various methods of self-assessment including The Balanced Scorecard that offers a comprehensive, top-down view of organizational performance with a strong focus on vision and strategy. The Company is focusing on continuing to be a learning organization, measuring the effectiveness of everything it does and making changes as needed. BLO measures traffic on its website, ticket trends, and sends out online questionnaires to profile and measure the ticket buyers’ attitudes and satisfaction levels, and backs those results up with rigorous qualitative and quantitative research.
Examples of Program Success 
BLO continued the third year of Opera Annex, a program launched in 2010 to present lesser-known chamber opera in alternative spaces throughout Boston at lower ticket prices, in order to attract new audiences to the art form. During the past two seasons, Opera Annex productions sold out a majority of their performances, and during only the second year reached 90% of house capacity during the critically-acclaimed production of Ullmann’s The Emperor of Atlantis. According to BLO market research, 15% of Opera Annex ticketholders have never purchased a ticket to BLO before, as compared with lower averages for other productions. The program also attracts younger and more economically diverse audiences than other productions, indicating this program successfully attracts significantly new and more diverse audiences to opera. 

CEO/Executive Director/Board Comments



CEO/Executive Director Ms. Esther Nelson
CEO Term Start Sept 2008
CEO Email [email protected]
CEO Experience

Esther Nelson joined Boston Lyric Opera in 2008, and has launched numerous new programs including Opera Annex, Signature Series at the Museum of Fine Arts, Open House, and partnerships with Boston University’s Opera Institute as well as other university and organization collaborations. Esther Nelson’s experience in opera and the performing arts spans three decades. Before joining BLO, she was a management consultant to artistic associations including the New York Historical Association, their research library, and their associated Fenimore Art Museum; the Farmers’ Museum in Cooperstown, New York; the European International Music and Arts Foundation; the Cultural Diplomacy Institute in New York and Berlin, Germany; Albany Symphony Orchestra in New York; The Douglas Moore Fund in New York City; Foothills Performing Arts Center in Oneonta, NY; and Memphis and Portland (Maine) Operas. This followed six years as the General Director/CEO of Glimmerglass Opera, one of the country’s largest and most prestigious opera festivals. During her seven year tenure, Glimmerglass Opera experienced significant artistic growth and fiscal stability, earning her a professional citation from the governor of New York. Before Glimmerglass, Ms. Nelson was the General Director/CEO of Nevada Opera in Reno, where she was responsible for all administrative and artistic activities and founded the company’s successful state-wide touring program. She also held previous leadership positions with Virginia Opera, Triangle Opera, and New Orleans Opera. Ms. Nelson has served as evaluator for the National Endowment for the Arts as well as the New York State Council, and is a frequent speaker and panelist, including consulting with OPERA America, the American opera service organization. She serves on the Board of Directors and Executive and Finance Committees of numerous cultural and social service organizations.

Co-CEO --
Co-CEO Term Start --
Co-CEO Email --
Co-CEO Experience --

Former CEOs and Terms

Name Start End
-- -- --

Senior Staff

Name Title Experience/Biography
Karen Frost Director of Finance & Administration --
Nicholas Russell Director of Artistic Operations --
Bradley Vernatter Director of Production --
Eileen Nugent Williston Director of Development --


Award Awarding Organization Year
Lawrence Olivier Award for Best New Opera Production to James MacMillan, composer of BLO-co-commissioned Clemency for the production The Society of London Theatre 2011
Opera Honors Award for Lifetime Achievement to John Conklin, BLO Artistic Advisor. This is the highest award bestowed in the field of opera in the United States. National Endowment for the Arts 2011
Excellence Award, for BLO's new and expanded family programming designed to engage future generations of opera audiences The Wallace Foundation 2006
Professional Citation to Esther Nelson, General & Artistic Director of BLO, for her outstanding leadership at Glimmerglass Opera where she was CEO prior to appointment at BLO. The Governor of New York 2002
Resolution and recognition for Carmen on the Common Boston City Council 2002
Top of the Arts Award for Outstanding Impact for Carmen on the Common, attended by over 145,000 people free of charge The Arts and Business Council of Greater Boston 2002
Success Award for outstanding collaboration on the 1999/2000 Egyptian Season in partnership with the Museum of Fine Arts, Boston; Museum of Science; Boston Ballet; and The Wang Center OPERA America 2000


Affiliation Year
AFP (Association of Fundraising Professionals) 2012
OPERA America 2012
Member of state association of nonprofits? Yes
Name of state association --

External Assessments and Accreditations

External Assessment or Accreditation Year
-- --


Artistic partnerships are important in helping BLO manage its resources effectively. A co-production with Wolf Trap Foundation in 2012, and a co-commission with Royal Opera House Covent Garden, Scottish Opera and Britten Sinfonia in 2014, enable BLO to do work it could not do alone and bring national and international attention to Boston. The company collaborates to deliver educational programming, including: four lecture programs annually at the Museum of Fine Arts; free performances at Boston Public Library; and Music! Words! Opera!, a teacher training program in partnership with Boston Public Schools, Boston Centers for Youth and Families, and Opera America. With Wheelock Family Theatre, BLO offers a week-long Institute in which children study opera through movement and acting exercises. In 2011, BLO launched a significant partnership with Boston University that provides an interdisciplinary, 14-session two-credit liberal arts course, as well as a role study program for young singers. Other partners include Boston Landmarks Orchestra, American Repertory Theatre, and PALS Children’s Chorus.

CEO/Executive Director/Board Comments


Foundation Comments


Staff Information

Number of Full Time Staff 24
Number of Part Time Staff 101
Number of Volunteers 45
Number of Contract Staff 0
Staff Retention Rate % 67%

Staff Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 0
Caucasian: 100
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 66
Male: 33
Not Specified 0

Plans & Policies

Organization has Fundraising Plan? Under Development
Organization has Strategic Plan? Yes
Years Strategic Plan Considers 5
Management Succession Plan Under Development
Business Continuity of Operations Plan No
Organization Policies And Procedures Yes
Nondiscrimination Policy Yes
Whistle Blower Policy No
Document Destruction Policy No
Directors and Officers Insurance Policy Yes
State Charitable Solicitations Permit Yes
State Registration Exempt

Risk Management Provisions

Directors and Officers Policy
Workers Compensation and Employers' Liability
Commercial General Insurance
Automobile Insurance
Commercial General Liability
Inland Marine and Mobile Equipment

Reporting and Evaluations

Management Reports to Board? Yes
CEO Formal Evaluation and Frequency Yes Annually
Senior Management Formal Evaluation and Frequency Yes Annually
Non Management Formal Evaluation and Frequency Yes Annually


Board Chair Mr. Steven P. Akin
Board Chair Company Affiliation Fidelity Investments
Board Chair Term Sept 2005 -
Board Co-Chair Mr. Frank Wisneski
Board Co-Chair Company Affiliation Wellington Management Company
Board Co-Chair Term Sept 2006 -

Board Members

Name Company Affiliations Status
Jane Akin Community Volunteer Voting
Steven P. Akin Fidelity Investments, Retired Voting
David B. Arnold Jr. Shipley Company, Inc., Retired Voting
David B. Arnold, Jr. -- Voting
Linda Cabot Black Community Volunteer Voting
Wayne Davis UBS Private Bank Voting
Miguel de Braganca Trinity Investment Management, Retired Voting
JoAnne Walton Dickinson Esq. Esquire Voting
Alan Dynner Eaton Vance Corp, Retired Voting
Susan D. Eastman Community Volunteer Voting
Andrew Eisenberg Constangy, Brooks & Smith LLP Voting
Kenneth L. Freed Community Volunteer Voting
Thomas D. Gill Jr. Community Volunteer Voting
Barbara Winter Glauber Barbara Winter Glauber & Associates Voting
Annaliese M. Henderson Community Volunteer Voting
Mimi Hewlett Community Volunteer Voting
Horace H. Irvine II Community Volunteer Voting
Susan W. Jacobs InterQual Inc. Voting
Amelia Welt Katzen U.S. Environmental Protection Agency Voting
Maria J. Krokidas Krokidas & Bluestein LLP Voting
Stephen T. Kunian Eckert Seaman Voting
Lois A. Lampson Harvard Medical School, Brigham & Women's Hospital Voting
Abigail B. Mason Kaspick & Company Voting
Esther Nelson Boston Lyric Opera Exofficio
A. Neil Pappalardo MEDITECH Voting
E. Lee Perry Community Volunteer Voting
William Pounds MIT Sloane School, Retired Voting
Michael Puzo Hemenway Trust Company, LLC Voting
Alicia Cooney Quigley Monument Group Voting
David W. Scudder Aureus Asset Management Voting
Susan R. Shapiro Ropes & Gray Voting
David Shukis Cambridge Associates Voting
Ray Stata Analog Devices Voting
Dr. Christopher Tadgell Community Volunteer Voting
Wat H. Tyler IPS Corporation Voting
Frank Wisneski Wellington Management Co., Retired Voting
Tania Zouikin Batterymarch Canada, Independent Analyst Voting

Constituent Board Members

Name Company Affiliations Status
-- -- --

Youth Board Members

Name Company Affiliations Status
-- -- --

Advisory Board Members

Name Company Affiliations Status
Ann Beha Ann Beha Associates NonVoting
Willa Bodman Buckingham Browne & Nichols School NonVoting
Richard M. Burnes Jr. Charles River Ventures NonVoting
Ellen Cabot Coldwell Banker Residential, Retired NonVoting
Lynn Dale Community Volunteer NonVoting
Kyla Akin de Asla Fidelity Investments, Community Volunteer NonVoting
Carol Deane Community Volunteer NonVoting
Jessica Donohue State Street Associates NonVoting
Christian Draz Community Volunteer NonVoting
Catherine Grein Community Volunteer Voting
Lila Berman Gross Berman and Sons Real Estate, Retired NonVoting
Amy Hunter Boston Private Bank & Trust NonVoting
Louise Johnson Aptuit NonVoting
Ellen Kaplan Xerox Corporation, Retired NonVoting
Amelia Welt Katzen U.S. Environmental Protection Agency, Retired NonVoting
William T. Kennedy New Bedford Standard-Times, Retired NonVoting
L. Joseph Lodato The Home for Little Wanderers NonVoting
M. Lynne Markus Community Volunteer NonVoting
Jeffrey Marshall Harvard University Library, Retired NonVoting
Shari Noe Community Volunteer NonVoting
Jane Pisciottoli Papa Quincy Public Schools, Retired NonVoting
Irving H. Plotkin PriceWaterhouseCoopers NonVoting
Susanne Potts Community Volunteer NonVoting
Dr. Malcolm Rogers Museum of Fine Arts, Boston NonVoting
Wendy Shattuck Four Seasons Hotel, Community Volunteer NonVoting
Lawrence St. Clair New England Foundation for Psychoanalysis, Community Volunteer NonVoting
Deborah Swenson Wellesley College, Retired NonVoting
Sandra A. Urie Cambridge Associates LLC NonVoting
Peter Wender Draper Laboratory NonVoting
Dr. Bertram Zarins Harvard Medical School, Massachusetts General Hospital NonVoting

Board Demographics

Ethnicity African American/Black: 0
Asian American/Pacific Islander: 0
Caucasian: 100
Hispanic/Latino: 0
Native American/American Indian: 0
Other: 0
Other (if specified): 0
Gender Female: 44
Male: 56
Not Specified 0

Board Information

Board Term Lengths 3
Board Term Limits --
Board Meeting Attendance % 71%
Written Board Selection Criteria Yes
Written Conflict Of Interest Policy Yes
Percentage of Monetary Contributions 100%
Percentage of In-Kind Contributions 0%
Constituency Includes Client Representation Yes

Standing Committees

  • Audit
  • Board Development / Board Orientation
  • Community Outreach / Community Relations
  • Compensation
  • Development / Fund Development / Fund Raising / Grant Writing / Major Gifts
  • Executive
  • Finance
  • Strategic Planning / Strategic Direction

CEO/Executive Director/Board Comments


Foundation Comments



Revenue vs. Expense ($000s)

Expense Breakdown 2014 (%)

Expense Breakdown 2013 (%)

Expense Breakdown 2012 (%)

Prior Three Years Total Revenue and Expense Totals

Fiscal Year 2014 2013 2012
Total Revenue $9,516,761 $14,287,623 $6,453,742
Total Expenses $7,468,372 $6,850,813 $6,377,730

Prior Three Years Revenue Sources

Fiscal Year 2014 2013 2012
Foundation and
Corporation Contributions
-- -- --
Government Contributions $39,300 $77,550 $65,950
    Federal -- -- --
    State -- -- --
    Local -- -- --
    Unspecified $39,300 $77,550 $65,950
Individual Contributions $7,544,334 $11,929,217 $4,524,366
Indirect Public Support -- $0 --
Earned Revenue $1,464,317 $1,641,352 $1,368,156
Investment Income, Net of Losses $228,205 $100,009 $70,806
Membership Dues -- $0 --
Special Events $113,442 $425,727 $415,095
Revenue In-Kind -- -- --
Other $127,163 $71,382 $9,369

Prior Three Years Expense Allocations

Fiscal Year 2014 2013 2012
Program Expense $6,003,089 $5,454,478 $5,138,650
Administration Expense $687,156 $655,832 $642,754
Fundraising Expense $778,127 $740,503 $596,326
Payments to Affiliates -- -- --
Total Revenue/Total Expenses 1.27 2.09 1.01
Program Expense/Total Expenses 80% 80% 81%
Fundraising Expense/Contributed Revenue 10% 6% 12%

Prior Three Years Assets and Liabilities

Fiscal Year 2014 2013 2012
Total Assets $16,209,286 $13,493,366 $5,918,226
Current Assets $9,814,256 $9,301,910 $4,488,695
Long-Term Liabilities $34,305 $0 $43,353
Current Liabilities $1,055,878 $1,084,305 $1,118,843
Total Net Assets $15,119,103 $12,409,061 $4,756,030

Prior Three Years Top Three Funding Sources

Fiscal Year 2014 2013 2012
1st (Source and Amount) -- --
-- --
-- --
2nd (Source and Amount) -- --
-- --
-- --
3rd (Source and Amount) -- --
-- --
-- --

Financial Planning

Endowment Value $9,593,962.00
Spending Policy Percentage
Percentage(If selected) 5.0%
Credit Line Yes
Reserve Fund No
How many months does reserve cover? --

Capital Campaign

Are you currently in a Capital Campaign? No
Capital Campaign Purpose --
Campaign Goal --
Capital Campaign Dates -
Capital Campaign Raised-to-Date Amount --
Capital Campaign Anticipated in Next 5 Years? --

Short Term Solvency

Fiscal Year 2014 2013 2012
Current Ratio: Current Assets/Current Liabilities 9.29 8.58 4.01

Long Term Solvency

Fiscal Year 2014 2013 2012
Long-term Liabilities/Total Assets 0% 0% 1%

CEO/Executive Director/Board Comments


Foundation Comments

Financial summary data in charts and graphs are per the organization's IRS 990s.  Contributions from foundations and corporations are listed under individuals when the breakout was not available.


The Impact tab is a section on the Giving Common added in October 2013; as such the majority of nonprofits have not yet had the chance to complete this voluntary section. The purpose of the Impact section is to ask five deceptively simple questions that require reflection and promote communication about what really matters – results. The goal is to encourage strategic thinking about how a nonprofit will achieve its goals. The following Impact questions are being completed by nonprofits slowly, thoughtfully and at the right time for their respective organizations to ensure the most accurate information possible.

1. What is your organization aiming to accomplish?


2. What are your strategies for making this happen?


3. What are your organization’s capabilities for doing this?


4. How will your organization know if you are making progress?


5. What have and haven’t you accomplished so far?