Every few years, you’ll hear a familiar refrain: “Opera is dying.”

National surveys point to slumping attendance at live performances. Audiences are aging, leaving fewer fans to fill seats at productions of “La Bohème,” “Carmen,” “The Magic Flute” and the like, while production costs grow.

I’m a labor economist who studies the economics of art and culture. To assess the state of opera in the U.S., I analyzed financial data collected by Opera America, an association whose roughly 600 members are overwhelmingly nonprofit opera companies.

After crunching the numbers, as I explained in a 2026 paper published in the Journal of Arts Management, Law, and Society, I reached a surprising conclusion about the state of those nonprofits.

Although opera companies are experiencing financial stress, opera isn’t a dying art form. Instead, I found that the public’s demand for meaningful, live cultural experiences – including opera – remains strong.

That said, opera’s traditional business model is faltering.

Opera is, for the most part, stuck in the past. Many companies still depend on a business model that relies on season ticket sales and a small circle of big donors. This approach worked better in the 20th century than it does now.

Few opera companies have embraced strategies the rest of the entertainment industry regularly uses: audience data analysis, experimentation with digital content and streaming, and engagement through online platforms rather than brochures.

In other words, opera management practices, metrics and audience development tactics didn’t change much even as the world transitioned into the digital age.

Change is needed because subscriptions and individual ticket sales have declined for many companies, especially those with budgets above........

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