This statistic displays the share of adults who attended an opera or operetta in England over the last 12 months, as of annual surveys conducted between 2005/06 and 2016/17. According to the survey, *** percent of adults in England had attended an opera/operetta in 2016/17.

This statistic shows the frequency of attendance at classic music concerts and opera in France in 2017. Two percent of respondents stated that they attended classical music concerts and opera approximately once a month, compared to *** percent who said that they did once every two or three years.

This graph presents the results of a survey regarding the frequency of visiting theatres, operas or playhouses in Germany from 2019 to 2023. In 2023, around ***** million respondents stated they occasionally visited theatres, operas and playhouses, while roughly ***** million respondents never did so. The Allensbach Market and Advertising Media Analysis (Allensbacher Markt- und Werbeträgeranalyse or AWA in German) determines attitudes, consumer habits and media usage of the population in Germany on a broad statistical basis.

We tested our hypotheses with a questionnaire. This questionnaire was administered electronically, in three languages (French, English and German), to viewers of two major opera streaming platforms: Staatsoperlive.comFootnote2 and Operavision.Footnote3 Staatsoperlive.com was the paid streaming service offered by the Vienna State Opera, launched in 2013. It broadcasted 50 live operas in HD every season, which made it the virtual opera house with the largest repertoire in the world. The platform also offered a video library of some 30 operas and its content was reviewed every month. The number of viewers for a live streamed performance was equivalent to a capacity audience at the Vienna State Opera. Viewers could access the service through a subscription or packages. They could also buy single live performances or videos on demand. Operavision is the digital platform of the European opera association, Opera Europa. It is the major stakeholder of free opera streaming. It broadcasts operas – mostly live – from its more than 25 partner opera houses, on its website and on YouTube. More than 40 operas per season are available for replay for several weeks or months. During a live broadcast, Operavision viewers can interact by taking part in a chat available on YouTube. The links to the questionnaires were sent in the newsletters of both institutions. 213 responses were collected (153 for Staatsoperlive.com and 60 for Operavision). 60% of the surveyed people are men. The respondents are usually older and predominantly highly educated, as it is the case of the 'in-situ' opera audience (Agid & Tarondeau, Citation2010). 62% are over 60 years of age and 58% of them hold at least a bachelor's degree, while only 8% did not complete secondary education. Besides, more than half of the sample (56%) have taken music or singing lessons. On another level, a substantial majority of the respondents, three quarters of which watched the streamed performance alone, enjoy opera frequently; like the spectators of Live HD operas in cinemas as Villanueva Benito and Lacasa-Mas (Citation2017) detected and analysed. In all of the channels we considered, almost three quarters of respondents (73%) enjoy watching at least one opera per month and half of them enjoy more than 20 operas per year. The surveyed viewers are regular streamed opera patrons, since 60% of them watch an opera at least every two months. They are also mostly opera houses customers (92%): more than half of the sample (54%) attends more than 5 operas in a theatre each year

Online streaming has become more widespread in the opera sector as in other performing arts. This broadcasting technique can help opera houses reach a wider audience and achieve greater loyalty from lovers of the genre. Moreover, streaming could encourage patrons to attend an opera performance in an opera house. This piece of research, which can be used as a reference for other performing arts, analyses the links between the value sources of the streamed opera consumption experience, loyalty, and intentions to attend an opera in an opera house. Our results show that hedonic, epistemic, and functional values have a significant impact on loyalty but through differing behavioural intentions. Nonetheless, epistemic value is the only value that influences viewers' intention to visit an opera house.

Over **** million people attended performing arts events at the Sydney Opera House in Australia in the year ending June 2024. This marked a significant increase in attendance compared to 2021 and 2022, which were greatly impacted by the suspension of public-facing activities due to the COVID-19 pandemic. The highest Sydney Opera House performing arts events attendance during the given period was recorded in financial year 2016, at over *** million people.

Between 2000/2001 and 2022/2023, attendance at opera and ballet productions in Turkey fluctuated. As of the season 2019/2020, roughly ******* individuals attended opera and ballet shows, denoting a decrease over the previous year when the attendance reached around *******. Due to the temporary closure of opera and ballet locations during the coronavirus (COVID-19) pandemic, the number of attendance recorded in the season of 2020/2021 dropped to the lowest point, with ** thousand. As of 2022/23 season, the number of attendance at opera counted about ******* people.

The emergence of Chinese opera animation allows a wider audience, especially a younger audience, to access and embrace the art of opera heritage. This study used a two-way mixed-design ANOVA to explore the effect of Chinese opera animation on schoolchildren’s viewing motivation; the independent variables were the children’s grade level and the opera genre of the animation. Grade level was divided into three groups: lower, middle, and upper (grades 2, 4, and 6, respectively). Opera genre consisted of Peking, Yue, and Henan opera. The dependent variable, viewing motivation, comprised six dimensions: entertainment and relaxation, learning knowledge, escapist pastime, aesthetic appreciation, empathic identification, and socializing and sharing. After statistically analyzing the evaluations of 457 participants, the results showed the following: (1) Peking and Yue opera animation had a better entertainment and relaxation effect on the lower and middle groups. Henan opera had a better escapist pastime effect on the upper group but less effect on the lower group. (2) In terms of learning knowledge, empathic identification, aesthetic appreciation, and overall performance, Yue and Henan opera animations were more effective for enhancing viewing motivation compared with Peking opera animation. (3) The middle and lower groups showed higher viewing motivation than the upper group in the learning knowledge, empathic identification, and socializing and sharing dimensions. Overall, grades 2 and 4 were appropriate stages for schoolchildren to engage with opera animation. Our findings can provide a reference for promoting cultural heritage sustainability and support follow-up research on integrating opera animation into children’s education.

Descriptive statistics for the dimensions of viewing motivation.

Over **** million people attended performing arts events at the Sydney Opera House in Australia in the year ending June 2024. Of these **** million, around ******* went to 'Sydney Opera House Presents' performances, and over ******* attended resident company performances. Additionally, approximately ******* people took part in tours of the opera house that year.

In 2019, Veneto was the Italian region recording the highest number of admissions at opera events. Overall, admissions reached ***** thousand in this area. In terms of attendance, namely the number of spectators at non-ticketed events, only Campania and Tuscany registered figures in 2019.

The Opéra national de Paris, also known simply as the Opéra de Paris, operates in two locations in the French capital: the Palais Garnier and the Opéra Bastille, located in the ninth and **** arrondissements of Paris, respectively. In recent years, the average age of spectators at the Opéra National de Paris has been around 45 years. However, there was a slight increase during the 2019/2020 season, when the average age increased to 47 years.

The series consists of minutes, reports and correspondence of the Sydney Opera House Trust's Programme and Marketing Committee.

The papers in the series deal with subjects discussed in committee meetings, such as upcoming programmes and events, financial matters, entrepreneurial policy, promotions and publicity, fundraising, attendance figures and box office takings, catering statistics, marketing activity, educational activity, and audience development activity. Regular reports to the Committee that form part of the series include the librarian's report, publicity manager's report, marketing and design manager's report, media and marketing report, development co-ordinator's report, and sponsorship report.

The series also includes some unsigned minutes, agendas and reports of the Public Affairs, House and Marketing Committee, and also the Programme Committee, which merged to form the Programme and Marketing Committee, and cover similar subjects.

In 2019, the North-East was the Italian macro-region recording the highest number of admissions at opera events. Overall, opera shows in this area registered nearly *** thousand admissions. Moreover, only the South and the Centre recorded attendance figures, namely the number of spectators at non-ticketed events.

A usable surveyed sample (n=246) was carried out based on convenience, similarly to other studies on festivals (e.g., Akhoondnejad, 2016; Pérez-Cabañero et al., 2022; Rivera et al., 2015). We followed a non-probabilistic purposeful sampling method (Teddlie & Yu, 2007), according to the researchers’ convenience (one of the authors being a musician) and the pertinence of the subjects involved: music lovers who had attended both virtual and non-virtual festivals. Snowball sampling was pursued among music consumers on social media, including classical and non-classical preferences. Specifically, we used in non-specialized personal social media (i.e., Twitter, Facebook, and Instagram), as well as American music festival group pages on Facebook and Spanish professional social networks (i.e., LinkedIn). We used an online structured questionnaire by Google Forms, including specific information on the purpose and scope of the study (academic and non-managerial), estimated time for completion, and data treatment in accordance with General Data Protection Regulation (GDPR). The target population consisted of people who had attended a virtual live music event within the last two years. The aim being to collect different aspects (both cognitive and emotional, and positive and negative) of the VMF experience, no specific music audience was targeted (opera, rock, pop…) except for the virtual attendance to music performances, either in streaming or within virtual reality. A filter question was added in this sense, in the beginning, and those answering ‘no’ were led to the end of the questionnaire with a gratitude statement. After two waves (October 2020, and January 2021) and through snowballing, 865 people accessed to the questionnaire, mainly in the US and Spain, but just 246 responses were completed and valid. Respondents were asked to answer the questionnaire referring to the memory of the last VMF they attended.

Live performance theaters have staged a robust comeback in the wake of the pandemic, with Broadway theaters posting increased attendance and box office grosses in recent seasons. Audiences are returning in greater numbers, drawn by star-studded productions, innovative adaptations and the irreplaceable thrill of live entertainment. Social media has become a significant promotional force, particularly in attracting younger audiences who value the unique, immersive experience of seeing a live show. Even as ticket prices soar, especially for blockbuster revivals and headline-grabbing casts, high production costs have restricted profit growth. Revenue has spiked at a CAGR of 8.7% over the years to total $8.6 billion in 2025, when revenue will contract by an estimated 0.04%. Looking back over the past five years, live theater has demonstrated remarkable resilience amid ongoing uncertainty and mounting costs. Productions have experimented with new marketing strategies, leveraging the influence of digital platforms and celebrity stunt casting to engage fans and fill seats. Social media-driven success stories, such as Beetlejuice the Musical, illustrate how connecting with Gen-Z and Millennial audiences is reshaping industry dynamics and fueling packed houses. Simultaneously, contemporary revivals and creative adaptations of classic works have broadened appeal by reflecting modern values and fresh perspectives. While some traditional forms—like opera and ballet—have struggled to hold on to their historical subscriber bases, single-ticket sales and digital content have become vital for staying competitive. Although audience enthusiasm is high, rising production and operating costs will make financial sustainability elusive for many shows, leading to shorter runs even for successful productions. The threat of reduced public funding—compounded by potential federal arts budget cuts—could force many theaters, particularly smaller and regional ones, to scale back or close altogether. At the same time, live streaming and digital partnerships are emerging as crucial pathways for audience outreach and supplemental revenue, though legal and logistical hurdles remain. Ultimately, the theaters that adapt swiftly, deploy innovative engagement tools and diversify their revenue streams will be best positioned to thrive in a rapidly evolving entertainment landscape. Revenue is expected to contract at a CAGR of 0.3% to $8.5 billion through the end of 2030.

Supporting the community to strengthen social cohesion and belonging by collecting, protecting and celebrating NSW's stories, artefacts, content, arts, culture and heritage experiences.

NSW is home to the oldest and most distinctive cultural institutions in the country. Visitation rates to our cultural institutions have surged past our pre-COVID records, with the Australian Museum recording the highest visitation rate in its almost 200-year history and more than 2 million visitors to the new expanded Art Gallery of NSW campus Naala Badu and Naala Nura. Expanding access to online engagement has been hugely significant too, with more than 21 million views globally of Sydney Opera House videos (in addition to its 10 million visitors to the site each year) and 4.6 million sessions on the State Library's website. Investment in the Powerhouse (MAAS) sites will support sharing its exhibitions with more people across NSW. The Museums of History NSW experienced growing visitation across their sites, which bring history to life through diverse voices and viewpoints.

Note on the data:

The data provided here reflects a reproduction of onsite visitation figures that have been published in the respective cultural institutions annual report. The data does not reflect offsite engagement activities (e.g. offsite public programs and touring activity). It also relates only to the primary site of visitation, for example, The State Library of NSW helps administer all public libraries in NSW (under the Library Act 1939) and visitation to these local libraries is not included in the above State Library visitation figure. In 2023-24, there were over 26 million visits to NSW public libraries. In that year, $40.89m of the State Library’s budget was provided for public library funding to local councils.

Each individual annual report includes supporting information such as closures or attendance limitations due to revitalisation, refurbishment, COVID measures, and COVID recovery measures such as free admission.

Each cultural institution has its own methodology and categorisation of onsite visitation, and attendance rates are not directly comparable.

Data gaps: For 2018-19 only, the State Library published a combined online and onsite visitation figure. The data for the State Library for this year included above is on-site visitation only, which was sources directly from the State Library (i.e. not their annual report). The Museums of History NSW was created in 2022, incorporating stewardship responsibilities for the State Archives and for significant museums, houses and collections. Previous data from the annual reports of the State Archives and Records Authority of NSW (SARA) (reading room and onsite programming) and Sydney Living Museums (total onsite visitation including grounds) from 2018-19 to 2021-22 have been included for comparison before 2022.