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globaldesi
Joined: 28 Jul 2016
Last visit: 23 Feb 2026
Posts: 1,141
Given Kudos: 67
Location: India
Concentration: Finance, Human Resources
Schools: ISB '18 (D)
GPA: 3.97
WE:Project Management (Finance: Investment Banking)
Products:
Updated on: 25 Mar 2026, 08:01
Originally posted by globaldesi on 12 May 2019, 04:21.
Last edited by Bunuel on 25 Mar 2026, 08:01, edited 1 time in total.
Last edited by Bunuel on 25 Mar 2026, 08:01, edited 1 time in total.
Kudos
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Question 1
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
5%
(low)
Question Stats:
91% (03:05) correct
9%
(02:51) wrong
based on 296
sessions
History
Date
Time
Result
Not Attempted Yet
Question 2
B
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
95%
(hard)
Question Stats:
23% (01:23) correct 77%
(01:06) wrong
based on 362
sessions
History
Date
Time
Result
Not Attempted Yet
Question 3
C
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
15%
(low)
Question Stats:
71% (00:52) correct 29%
(01:08) wrong
based on 344
sessions
History
Date
Time
Result
Not Attempted Yet
Question 4
D
Be sure to select an answer first to save it in the Error Log before revealing the correct answer (OA)!
Difficulty:
75%
(hard)
Question Stats:
44% (01:26) correct 56%
(01:18) wrong
based on 327
sessions
History
Date
Time
Result
Not Attempted Yet
Although considered by some to be the exclusive province of a small, homogenous group of affluent patrons, opera in recent years has been attracting a large and growing audience that is getting younger and more diverse. The National Endowment for the Arts reports that nationwide attendance levels for opera are comparable to those for professional football. Opera is the fastest growing art form not only for the country as a whole but also for 18-24 year-olds. Nearly a third of the audience is under 35, the average age is dropping, and minority attendance has reached 17%.
The New York City Opera (NYCO), with its innovative programming, has been at the forefront of these audience trends, attracting new opera-goers by introducing young American singers and by staging productions of new, non-traditional works as well as dramatic new interpretations of classic operas.
The NYCO has long benefited from its location at New York's Lincoln Center - a world-renowned cultural center in a prosperous and easily-accessible neighborhood - but its actual facility is less favorable. The NYCO's performance space (one of several halls at Lincoln Center) was originally intended for the New York City Ballet, and special care was taken to muffle distracting thuds from the dancers' feet. As a result, many critics view the stage as an acoustic disaster for opera singers attempting to project to the full 2,755-seat house.
Management of the NYCO attempted to address this issue by bidding to become the anchor tenant of a proposed new world-class cultural center in lower Manhattan. However, the center's Board rejected the bid, citing the limited length of the opera season and concerns about the effect losing an important tenant would have on Lincoln Center. Privately, City Opera supporters and some Board members questioned the official response, arguing that the elitist image of opera had doomed the NYCO's efforts and that the board had drawn unwarranted negative conclusions about the appeal of opera to lower Manhattan's younger, less affluent neighborhood.
Now the NYCO faces some difficult decisions. Having missed one chance to move, should it continue to look for a new home or commit to the extensive upgrades that are needed at its Lincoln Center home? Should it continue to take shelter under the massive wings of Lincoln Center and the Metropolitan Opera or strike out on its own? NYCO management must decide whether to reinforce its position as a leader in expanding opera's audience by moving the company from its older, wealthy enclave to a younger, more vibrant neighborhood.
The New York City Opera (NYCO), with its innovative programming, has been at the forefront of these audience trends, attracting new opera-goers by introducing young American singers and by staging productions of new, non-traditional works as well as dramatic new interpretations of classic operas.
The NYCO has long benefited from its location at New York's Lincoln Center - a world-renowned cultural center in a prosperous and easily-accessible neighborhood - but its actual facility is less favorable. The NYCO's performance space (one of several halls at Lincoln Center) was originally intended for the New York City Ballet, and special care was taken to muffle distracting thuds from the dancers' feet. As a result, many critics view the stage as an acoustic disaster for opera singers attempting to project to the full 2,755-seat house.
Management of the NYCO attempted to address this issue by bidding to become the anchor tenant of a proposed new world-class cultural center in lower Manhattan. However, the center's Board rejected the bid, citing the limited length of the opera season and concerns about the effect losing an important tenant would have on Lincoln Center. Privately, City Opera supporters and some Board members questioned the official response, arguing that the elitist image of opera had doomed the NYCO's efforts and that the board had drawn unwarranted negative conclusions about the appeal of opera to lower Manhattan's younger, less affluent neighborhood.
Now the NYCO faces some difficult decisions. Having missed one chance to move, should it continue to look for a new home or commit to the extensive upgrades that are needed at its Lincoln Center home? Should it continue to take shelter under the massive wings of Lincoln Center and the Metropolitan Opera or strike out on its own? NYCO management must decide whether to reinforce its position as a leader in expanding opera's audience by moving the company from its older, wealthy enclave to a younger, more vibrant neighborhood.
1. The author's primary purpose is to
A. point out the disadvantages of the NYCO's Lincoln Center location.
B. prove that opera audiences are getting younger and more diverse.
C. criticize NYCO management for missing a chance to move to lower Manhattan.
D. outline the NYCO's past success and its current tough choices.
E. determine whether the NYCO will lose revenue if it moves to a new site.
A. point out the disadvantages of the NYCO's Lincoln Center location.
B. prove that opera audiences are getting younger and more diverse.
C. criticize NYCO management for missing a chance to move to lower Manhattan.
D. outline the NYCO's past success and its current tough choices.
E. determine whether the NYCO will lose revenue if it moves to a new site.
2. The author cites which of the following as evidence for a changing opera audience?
A. Many people view the typical opera-goer as over 45 and well-to-do.
B. No art form is experiencing more rapid audience growth than opera is.
C. African-Americans currently comprise 17% of the opera audience.
D. The neighborhood around Lincoln Center is rapidly changing.
E. 18-24 year-olds are the fastest growing portion of today's opera audience.
A. Many people view the typical opera-goer as over 45 and well-to-do.
B. No art form is experiencing more rapid audience growth than opera is.
C. African-Americans currently comprise 17% of the opera audience.
D. The neighborhood around Lincoln Center is rapidly changing.
E. 18-24 year-olds are the fastest growing portion of today's opera audience.
3. Which of the following is cited as a decision facing NYCO management?
A. Whether to continue to stage trend-setting productions
B. Whether to form an alliance with the Metropolitan Opera
C. Whether to renovate their current facility
D. Whether to raise ticket prices
E. Whether to try to expand their audience to minorities and young people.
A. Whether to continue to stage trend-setting productions
B. Whether to form an alliance with the Metropolitan Opera
C. Whether to renovate their current facility
D. Whether to raise ticket prices
E. Whether to try to expand their audience to minorities and young people.
4. It is reasonable to assume that the author believes that
A. NYCO cannot prosper in any neighborhood not well-served by public transportation.
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations.
C. The acoustics at Lincoln Center are not suited to opera.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group.
E. NYCO should have been the anchor tenant in the new lower Manhattan center.
A. NYCO cannot prosper in any neighborhood not well-served by public transportation.
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations.
C. The acoustics at Lincoln Center are not suited to opera.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group.
E. NYCO should have been the anchor tenant in the new lower Manhattan center.
KeyurJoshi
GMAT 1: 710 Q49 V38
Posts: 143
16 May 2020, 19:46
Kudos
Bookmarks
1. The author's primary purpose is to
A. point out the disadvantages of the NYCO's Lincoln Center location. - Wrong. A problem is cited but that's not the purpose.
B. prove that opera audiences are getting younger and more diverse. - Simply out of scope. 1 part of the passage.
C. criticize NYCO management for missing a chance to move to lower Manhattan. - Author's more concerned about the further decision than criticizing the former.
D. outline the NYCO's past success and its current tough choices. - Correct. Para 2/3 talks about success and the latter talks about choices made / current decision-making.
E. determine whether the NYCO will lose revenue if it moves to a new site. - Irrelevant. concern is NYCOs position.
2. The author cites which of the following as evidence for a changing opera audience?
Something
A. Many people view the typical opera-goer as over 45 and well-to-do. - Out of Scope
B. No art form is experiencing more rapid audience growth than opera is. - Correct. Inference 1: Opera is the fastest growing art form | Inference 2: opera in recent years has been attracting a large and growing audience that is getting younger and more diverse
C. African-Americans currently comprise 17% of the opera audience. - Irrelevant.
D. The neighborhood around Lincoln Center is rapidly changing. - Irrelevant.
E. 18-24 year-olds are the fastest growing portion of today's opera audience. "It's a Trap" doesn't lead to a changing opera audience, Opera is the fastest growing art form not only for the country as a whole but also for 18-24 year-olds.
3. Which of the following is cited as a decision facing NYCO management?
A. Whether to continue to stage trend-setting productions - Out of scope.
B. Whether to form an alliance with the Metropolitan Opera - Incorrect.An alliance building isn't really the decision NYCO has to make.
C. Whether to renovate their current facility - Correct. Author talks about this explicitly in last passage.
D. Whether to raise ticket prices - Nope. Irrelevant.
E. Whether to try to expand their audience to minorities and young people. - Its not decision but the result of the decision that'll be made.
4. It is reasonable to assume that the author believes that
A. NYCO cannot prosper in any neighborhood not well-served by public transportation. - Out of Scope.
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations. - Don't really care about data validity.
C. The acoustics at Lincoln Center are not suited to opera. - "Its a trap!" Maybe it can be a difficulty for singers but critics view of stage as an acoustic disaster doesn't necessarily mean acoustics at lincoln center are not suited to opera.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group. - Correct Inference: the board had drawn unwarranted negative conclusions about the appeal of opera to lower Manhattan's younger, less affluent neighborhood.
E. NYCO should have been the anchor tenant in the new lower Manhattan center. - Sure they missed an opportunity but that doesn't mean they SHOULD have been the anchor tenant. A little too extreme.
A. point out the disadvantages of the NYCO's Lincoln Center location. - Wrong. A problem is cited but that's not the purpose.
B. prove that opera audiences are getting younger and more diverse. - Simply out of scope. 1 part of the passage.
C. criticize NYCO management for missing a chance to move to lower Manhattan. - Author's more concerned about the further decision than criticizing the former.
D. outline the NYCO's past success and its current tough choices. - Correct. Para 2/3 talks about success and the latter talks about choices made / current decision-making.
E. determine whether the NYCO will lose revenue if it moves to a new site. - Irrelevant. concern is NYCOs position.
2. The author cites which of the following as evidence for a changing opera audience?
Something
A. Many people view the typical opera-goer as over 45 and well-to-do. - Out of Scope
B. No art form is experiencing more rapid audience growth than opera is. - Correct. Inference 1: Opera is the fastest growing art form | Inference 2: opera in recent years has been attracting a large and growing audience that is getting younger and more diverse
C. African-Americans currently comprise 17% of the opera audience. - Irrelevant.
D. The neighborhood around Lincoln Center is rapidly changing. - Irrelevant.
E. 18-24 year-olds are the fastest growing portion of today's opera audience. "It's a Trap" doesn't lead to a changing opera audience, Opera is the fastest growing art form not only for the country as a whole but also for 18-24 year-olds.
3. Which of the following is cited as a decision facing NYCO management?
A. Whether to continue to stage trend-setting productions - Out of scope.
B. Whether to form an alliance with the Metropolitan Opera - Incorrect.An alliance building isn't really the decision NYCO has to make.
C. Whether to renovate their current facility - Correct. Author talks about this explicitly in last passage.
D. Whether to raise ticket prices - Nope. Irrelevant.
E. Whether to try to expand their audience to minorities and young people. - Its not decision but the result of the decision that'll be made.
4. It is reasonable to assume that the author believes that
A. NYCO cannot prosper in any neighborhood not well-served by public transportation. - Out of Scope.
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations. - Don't really care about data validity.
C. The acoustics at Lincoln Center are not suited to opera. - "Its a trap!" Maybe it can be a difficulty for singers but critics view of stage as an acoustic disaster doesn't necessarily mean acoustics at lincoln center are not suited to opera.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group. - Correct Inference: the board had drawn unwarranted negative conclusions about the appeal of opera to lower Manhattan's younger, less affluent neighborhood.
E. NYCO should have been the anchor tenant in the new lower Manhattan center. - Sure they missed an opportunity but that doesn't mean they SHOULD have been the anchor tenant. A little too extreme.
General Discussion
17 May 2020, 20:04
Kudos
Bookmarks
I took a total of 7 minutes 54 seconds and got 4/4 correct.
(04:03)
1. The author's primary purpose is to
A. point out the disadvantages of the NYCO's Lincoln Center location.
B. prove that opera audiences are getting younger and more diverse.
C. criticize NYCO management for missing a chance to move to lower Manhattan.
D. outline the NYCO's past success and its current tough choices.
E. determine whether the NYCO will lose revenue if it moves to a new site.
This is a relatively straight forward question. The author of the passage is concerned with highlighting the fact that NYCO has been at the forefront of attracting new opera audiences and now has to make tough choices (stated in the final paragraph). Clearly, option (D) is fits our reasoning and is the correct choice.
(01:42)
2. The author cites which of the following as evidence for a changing opera audience?
A. Many people view the typical opera-goer as over 45 and well-to-do.
B. No art form is experiencing more rapid audience growth than opera is.
C. African-Americans currently comprise 17% of the opera audience.
D. The neighborhood around Lincoln Center is rapidly changing.
E. 18-24 year-olds are the fastest growing portion of today's opera audience.
(A) The part about typical opera goer being over 45 is unstated in the passage. However, majority are affluent. - INCORRECT
(B) The first paragraph clearly states this information. Opera is the fastest growing art form in terms of audience.
(C) Yes, African Americans are minority and the passage states that minority attendence increased to 17%, however, it is not correct to assume that the African Americans form minority. There may be other people who are not AA but are still minority.
(D) Not stated in the passage, hence, incorrect choice.
(E) Consider this sentence picked from the passage - "Opera is the fastest growing art form not only for the country as a whole but also for 18-24 year-olds". This is a classic case of correlation vs causation. Yes, opera is the fastest growing art form for 18-24 year olds, however, the reverse may not be true.
It may be incorrect that 18-24 year olds are the fastest portion of today's opera audience. This may or may not happen. We don't know for sure. INCORRECT.
(00:31)
3. Which of the following is cited as a decision facing NYCO management?
A. Whether to continue to stage trend-setting productions
B. Whether to form an alliance with the Metropolitan Opera
C. Whether to renovate their current facility
D. Whether to raise ticket prices
E. Whether to try to expand their audience to minorities and young people.
This is another relatively easy question. The author talks about the difficult decisions facing the management in the final paragraph. One of these decisions is whether to move to a new vibrant locality or stay where they are and renovate this exisiting facility. The same is stated in option (C).
(01:38)
4. It is reasonable to assume that the author believes that
A. NYCO cannot prosper in any neighborhood not well-served by public transportation. - not stated/inferrable
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations. - unstated information.
C. The acoustics at Lincoln Center are not suited to opera. - It is not the acoustics at the Lincoln centre that are not suited, it is the acoustics of the facility itself that are a problem. Lincoln centre, on the other hand, is actually a very strategic location for the Opera as stated in paragraph 3. This is opposite of what is stated in the passage.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group. - Vividly stated in the final sentence of the passage. Moving to a younger, vibrant neighbourhood would help expand audience for the Opera.
E. NYCO should have been the anchor tenant in the new lower Manhattan center. - The author has not expressed her belief in this regard. She may or may not believe that.
(04:03)
1. The author's primary purpose is to
A. point out the disadvantages of the NYCO's Lincoln Center location.
B. prove that opera audiences are getting younger and more diverse.
C. criticize NYCO management for missing a chance to move to lower Manhattan.
D. outline the NYCO's past success and its current tough choices.
E. determine whether the NYCO will lose revenue if it moves to a new site.
This is a relatively straight forward question. The author of the passage is concerned with highlighting the fact that NYCO has been at the forefront of attracting new opera audiences and now has to make tough choices (stated in the final paragraph). Clearly, option (D) is fits our reasoning and is the correct choice.
(01:42)
2. The author cites which of the following as evidence for a changing opera audience?
A. Many people view the typical opera-goer as over 45 and well-to-do.
B. No art form is experiencing more rapid audience growth than opera is.
C. African-Americans currently comprise 17% of the opera audience.
D. The neighborhood around Lincoln Center is rapidly changing.
E. 18-24 year-olds are the fastest growing portion of today's opera audience.
(A) The part about typical opera goer being over 45 is unstated in the passage. However, majority are affluent. - INCORRECT
(B) The first paragraph clearly states this information. Opera is the fastest growing art form in terms of audience.
(C) Yes, African Americans are minority and the passage states that minority attendence increased to 17%, however, it is not correct to assume that the African Americans form minority. There may be other people who are not AA but are still minority.
(D) Not stated in the passage, hence, incorrect choice.
(E) Consider this sentence picked from the passage - "Opera is the fastest growing art form not only for the country as a whole but also for 18-24 year-olds". This is a classic case of correlation vs causation. Yes, opera is the fastest growing art form for 18-24 year olds, however, the reverse may not be true.
It may be incorrect that 18-24 year olds are the fastest portion of today's opera audience. This may or may not happen. We don't know for sure. INCORRECT.
(00:31)
3. Which of the following is cited as a decision facing NYCO management?
A. Whether to continue to stage trend-setting productions
B. Whether to form an alliance with the Metropolitan Opera
C. Whether to renovate their current facility
D. Whether to raise ticket prices
E. Whether to try to expand their audience to minorities and young people.
This is another relatively easy question. The author talks about the difficult decisions facing the management in the final paragraph. One of these decisions is whether to move to a new vibrant locality or stay where they are and renovate this exisiting facility. The same is stated in option (C).
(01:38)
4. It is reasonable to assume that the author believes that
A. NYCO cannot prosper in any neighborhood not well-served by public transportation. - not stated/inferrable
B. The data supplied by the National Endowment for the Arts is questionable because it has a presumed bias toward cultural organizations. - unstated information.
C. The acoustics at Lincoln Center are not suited to opera. - It is not the acoustics at the Lincoln centre that are not suited, it is the acoustics of the facility itself that are a problem. Lincoln centre, on the other hand, is actually a very strategic location for the Opera as stated in paragraph 3. This is opposite of what is stated in the passage.
D. Locating the company in a neighborhood with a lower average age would increase NYCO's appeal to that age group. - Vividly stated in the final sentence of the passage. Moving to a younger, vibrant neighbourhood would help expand audience for the Opera.
E. NYCO should have been the anchor tenant in the new lower Manhattan center. - The author has not expressed her belief in this regard. She may or may not believe that.
