Representations of opera on TV and in the media continue to paint a picture of elitism and while academic literature has debated opera’s position in society for years, this study aims to understand what audiences themselves believe about the artform’s relationship with elitism, diversity, accessibility and public funding.

Opera institutions in the UK each have very different target audiences and performance styles. To get a better sense of the aims of the opera companies to contextualize the audience interviews, industry professionals working in management at the ROH, the English National Opera (ENO), Opera Rara and The Grange Festival (TGF) have been interviewed to assess the goals and perspectives of each different institution. With the comparative perspectives in mind, this study took a deeper dive into the performances and goals of the Royal Opera house.

The questionnaire given to patrons of the ROH aims to understand how audiences feel about six different questions. Some of these questions are designed to point towards similar but nuanced things, for example rating the elitist nature of opera, in comparison with accessibility and diversity. A further stem of the research interviewed a portion of audience members in depth to understand their backgrounds, and understandings of elitism as a concept. Elitism exists in many forms and can often be confused with exclusivity.

The current project suggests that even though they attend opera, the majority of Royal Opera House attendees believe opera to be somewhat elitist. Strikingly, over 50% of respondents say they think opera is inaccessible and not diverse, yet they overwhelmingly support the current levels of high government funding.

While opera’s status as “the highest artform” can be debated, the UK undeniably spends more on opera than other artforms. In the 2023-26 cycle, the Royal Opera House (ROH) is subsidized by more than £22 million. Given its overwhelming government support in the UK, one might assume that opera has widespread popularity amongst the general public – not so. According to data from the Audience Agency using the Cultural Participation Monitor, only 4% of people surveyed attended opera pre-pandemic, lowered to 3% during or post-pandemic.2 To many who don’t attend the opera, it maintains a perception of elitism and exclusivity, despite the sector’s efforts to broaden its audiences.

Discussions with industry professionals at leading opera institutions across the UK brought out the concept of the bridge where “a larger organization brings together a number of different partners to make meaningful work in a particular community”. The ROH does this work in an economically disadvantaged area of Essex called Thurrock, where it has a direct positive effect from its production-making base. Alongside my analysis that opera audiences tend to believe that opera is elitist, whilst also supporting high levels of government opera subsidization, programs like Thurrock seek to build the cultural awareness of opera in many communities who would otherwise not have access to the artform. Maybe one day, audience perception of opera will catch up to the government investment that everyday opera goers find appropriate.