The end of the Subscription model?

The subscription model in opera and classical music is dying. We all know it. Houses are watching those numbers drop year after year, and the panic is real.

But here's the strange thing - the global opera market is projected to hit $9.89 billion by the end of 2025.

So what's actually happening here?

The audience isn't disappearing. They're just not interested in the old contract anymore: pay upfront for a whole season of shows you're not sure you'll make it to, and we'll send you a nice brochure.

They want something different now. The incoming audience, brought up on MTV, rock and pop, fandom, social media, want to belong, not just attend.

From Transactions to Community

The loyalty we used to rely on - "I've had these seats for twenty years" - that's gone. Or going, fast.

What's replacing it is something messier but potentially much stronger: community. People want to be part of something, not just be passive consumers of it.

Which means opera houses need to stop thinking of themselves as venues that present work, and start thinking of themselves as, well, operators. Leaders of something people actually want to be involved in.

So what does that look like in practice? Based on what we're seeing from research and what's working on the ground, here are a few things:

Stop Selling Membership, Start Offering Experience

New audiences don't want a membership card. They really want an experience worth talking about. They want something spectacular on stage, for sure, but also reasons to hang around before and after. They want to feel like the opera house is a destination, somewhere with energy and life, not just a building you visit four times a year.

Community happens when people feel like they're discovering something together, not when they're fulfilling a contract.

Context Is Everything

Modern engagement starts long before someone buys a ticket.

People expect to know what they're getting into. They want previews, behind-the-scenes glimpses, stories about the creative process. Give them that context and you're not just selling a night out ... you're building a relationship that extends before and after the performance.

Transparency matters. When people feel like they're being let in on something, they're much more likely to want to stick around.

Artists Are Your Bridge

This is where casting becomes more than just "who sings the role best."

The rise of the multi-hyphenate artist - singers who can also communicate digitally, engage with communities, advocate for the work - these people are your bridge to new audiences. They don't just show up, sing beautifully, and leave. They actively help build the culture around the work.

They have networks and audiences on social media, and can create fans, not just ticket buyers.

And fans tell their friends.

What This Means for Intendants

At Svanholm Artists, we've been building our roster around this shift. Yes, our singers are stage-ready and deliver at the highest level – that's a given. But increasingly, we're focused on artists who understand this bigger picture. Who can help houses navigate the transition from selling seats to building buzz and movements.

Because what this really is is a structural shift.

The goal isn't to "save" subscriptions. The goal is to build a community so engaged that people come back because they want to, and are excited to be part of something, not because they signed a contract eighteen months ago.

That's harder work than the old model. It requires more creativity, more risk, more genuine connection.

But it's also the only path forward that makes sense as the generational shift happens.

The question for Intendants and Artistic Directors is: are you ready to lead that shift, or are you still trying to prop up a model that's already gone?