For centuries, opera has been the mark of high-end entertainment. Often described as exclusive, expensive, and irrelevant, it callously caters itself to a single demographic. Aggressive vibrato, dramatic interpretation, and over-the-top costume choices all require a sort of acquired taste.

Among the most famed classics are Mozart’s The Marriage of Figaro, Verdi’s La Traviata, Bizet’s Carmen, and many more. Each has its own unique story, yet many have the same feel – grandiose, luxurious, and old. It’s all part of the appeal.

But it’s a well known fact that today, opera draws in older audiences and not as many younger individuals. The feel of these classics simply isn’t appealing to the new generations. Mainstream genres have crept in, slowly taking opera’s place. And as the younger generations continue to grow and the older generations begin to fade, opera houses and composers are trying their best to hook younger listeners through radical shifts.

To truly understand the shift of the dynamic art form that is opera, we need to go back a few centuries. Because it has truly withstood the test of time – until now. 

Past

Opera emerged in the 17th century, primarily within the Italian and French Royal Courts. The first recognized production was Orfeo, which premiered in Italy in 1607. The storyline was based on the Greek mythological story of Orpheus — which involves Gods, spirits, and all sorts of fantastical beings. Although the first of its kind, similar themes stayed true throughout the following centuries, with opera librettos based mostly on mythology, fairy tales, or medieval settings. 

In the 18th century, opera both exploded and evolved. Two styles emerged: “opera seria” (serious opera) and “opera buffa” (comic opera). Opera seria was more historical in nature, with long arias meant to convey emotion. Examples of opera seria works include Rinaldo by George Frideric Handel and Demofoonte by Niccolò Jommelli. Opera buffa, on the other hand, was more comical and contemporary. Prominent opera buffas of the time included The Marriage of Figaro and Don Giovanni, both composed by Wolfgang Amadeus Mozart. These classics are still widely performed today. 

It’s important to note that during these time periods, men dominated the opera scene. In fact, during this time period, women were banned from church choirs and the general stage. To introduce a diverse range of voices within operas, “castrati” emerged — the practice of castrating young men to preserve their high voices. Many families saw castrati as a way to escape poverty, as the procedure would set a young boy up for a life as a choir or opera singer. Although rightfully viewed as inhumane today, it was practiced for over a century. 

In the 19th century, it became increasingly clear that opera was no longer a singular art form. Styles of singing and performance began to change and branch out. This is why, today, certain types of opera are tied to certain regions of the world; for instance, the Italian Bel Canto. Traditional folktales of a region became increasingly represented in librettos, coinciding with the overall rise of nationalism throughout the world. Nations were eager to showcase their unique styles. This era also marked the evolution of “Grand Opera,” showcasing dramatic and extravagant production. The most famous works of this time period include Bizet’s Carmen and Verdi’s La Traviata.

Two notable composers rose to prominence during this era: Richard Wagner and Giuseppe Verdi. Wagner, originally from Germany, popularized the use of the leitmotiv, a melody that is associated with a certain character onstage. Verdi stayed true to the works of his nation, Italy, and composed passionate operas that utilized the aforementioned Bel Canto technique.

As the 20th century rolled around, opera became less of a national movement, and more of an individual art. From Puccini’s works of romanticism, like Madam Butterfly, to the shocking and erotic works of Strauss, opera became more unconventional than ever. Contemporary works utilizing operatic techniques, such as Kurt Weill’s The Threepenny Opera – which is officially a play – rose to prominence.

Present

In an effort to reel in new audiences, the classic operas have been altered, or new ones entirely have been created. Chris Schaldenbrand, a singer in the Met Opera chorus, considers this a good way to hook new listeners in. “I think it’s a good idea to keep presenting new works along with the old tried and true standard repertory…it’s to give the audience something new to stimulate and challenge their appreciation of the art form.” 

On Dec 31st, 2024, a new rendition of Aida premiered at the Met, featuring an “Indiana Jones-type storyline,” complete with tomb raiders and treasure. The director of the production, Michael Mayer, hopes that it will appeal to younger audiences because it “matches the visual imagination of video games and movies.” 

Mayer’s hopes are shared with composers creating new operas. Jeanine Tesori, a Tony-Award winning Broadway composer, premiered Grounded in 2023, adapting the play by George Brant. The story follows a pilot and her stance on drone warfare, again leaning into video game tropes in hopes of luring in younger crowds.

New operas are also aiming to feature diverse perspectives – with many focusing on African American protagonists and their everyday struggles. For instance, The Seer premiered at the Kennedy Center in Washington D.C on January 10th, 2025. The story follows a female African-American office worker who has dreams of a better future. Future of Dreams was also premiered at the same location, with its story following two African-American women running for mayor of Texas in 2064. These modern storylines are especially important to the contemporary opera scene, as the most famous opera about African-Americans to date is Porgy and Bess – which was written by a white man. 

Almost all contemporary operas aim to represent the lives of younger and more diverse audiences, in hopes of drawing those demographics in. However, the overall attendance of these contemporary productions hasn’t yet rivaled that of the classics. For example, Fire Shut Up in My Bones, an opera following a young African-American man living in poverty, drew only 65% attendance in the 2024 season at the Met, while classics like The Magic Flute and Carmen came in at over 78%. 

The Met and other prominent opera houses are taking a gamble. Some are paying off, and others aren’t. 

While new styles of opera are being explored, other artforms that incorporate operatic themes and styles have surfaced. Take The Phantom of the Opera, written by Andrew Lloyd Webber. Classified as a musical, the piece still incorporates operatic vocals throughout, trademarked by the vibrato quality of the tone. In addition, the storyline itself is set in an opera house. The musical is incredibly popular, with 13,981 performances and over 20 million people viewing the Broadway rendition.

Future

It’s hard to say what will become of opera in the coming decades. Schaldenbrand acknowledges that sometimes, these new renditions don’t work out: “[Some updated versions] seem like they would have been better sticking to what the original was intended to be.” 

But it’s important to remember one thing: opera is a fluid art form. It will change over the years, decades, and centuries – and it seems that time is now.

For centuries, opera has been the mark of high-end entertainment. Often described as exclusive, expensive, and irrelevant, it callously caters itself to a single demographic.