Thinking about arts performance scheduling and audiences has had me recalling some of the first operas I attended.

They were at the Cincinnati Zoo, at the corner of Erkenbrecher and Vine.

Don’t laugh. The performances were top-flight. The Cincinnati Summer Opera, as it was commonly known, was informally considered the summer home of New York’s Met, and it provided seasonal employment for members of the Cincinnati Symphony Orchestra.

The company had an impressive pavilion on the grounds, and visiting the animals before watching the singers was part of the experience, if you allowed yourself time. I especially remember being amused by the monkey island antics at intermission. And many of the singers, so I’ve read, humorously came to think of themselves as a special kind of animal.

Especially notable was the first time you heard a roving peacock screech. It sounded like somebody was being murdered and could happen at any time during a performance. Veteran singers used to wait to see if newbies could maintain their composure when the cry rang through the theater. In the opera world, this was an inside joke and a rite of passage, at least for those who passed the test.

I’ve been trying to remember how long the season ran, but there were usually four performances a week – one production on Thursday and Saturday, and another on Friday and Sunday, if I have it right. In the late ‘60s, that spanned six to eight weeks, best as I can recall.

Think of that – 12 to 16 different productions each year. Only a few big houses in the world surpass that.

But at its height, there were 18 different offerings over 61 performances in a ten-week season. Where did that many operagoers come from out in Ohio and neighboring Kentucky and Indiana?

The tradition originated in 1920, making the Cincinnati Opera Association the second-oldest opera company in the U.S., and continued until moving into the renovated and air-conditioned Music Hall in 1972, where the season still happens each summer, though on a much different scale.