Then there is the profile, desired or acquired, by opera houses, how much they are prepared to spend being a measure of how keen they are on international prestige. The big names they draw are notbig fish in small ponds. They are big on the international circuit, which fosters the kind of cultural mixing (in aesthetic, organizational, managerial, and financial terms) that operates in a very pronounced way in opera today, as well as in the performance arts aspiring to its status and scale.