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Metropolitan Opera Scales Back Schedule Amid Financial Pressures Despite Box Office Recovery
The Metropolitan Opera announced Thursday it will present just 17 productions for its 2026-27 season, marking the company’s smallest lineup since moving to Lincoln Center in 1966. The reduced schedule comes despite encouraging ticket sales in the current season, which have rebounded to pre-pandemic levels.
According to Met general manager Peter Gelb, the company is experimenting with extended runs of crowd-pleasing classics. Three popular operas – Puccini’s “Tosca,” Puccini’s “La Bohème,” and Verdi’s “Aida” – will account for 71 of the season’s 187 performances, representing 38% of the total schedule.
“It makes more sense for us, and this is an experiment – to present these works in extended runs,” Gelb explained. “And by double-casting them, it also is more economic in terms of how many different shows are playing in one week.”
The Met has seen ticket sales reach 72% capacity in the first half of the current season, up from 70% during the same period in 2024-25. While attendance figures have returned to pre-pandemic levels, revenue has not fully recovered.
“We’re not grossing as much money because the average price per ticket is slightly less than it was, because we have a younger audience and more discounted tickets,” Gelb noted.
The company has found particular success with Mason Bates’ “The Amazing Adventures of Kavalier & Clay,” which opened the current season with its world premiere. The contemporary opera has sold 84% of available tickets, prompting the Met to add four additional performances this month.
“One of my goals at the Met is to stimulate new audiences with new works,” Gelb said. “This one was one of the most successful we’ve presented so far.”
Other strong performers this season include the English-language holiday staging of Mozart’s “The Magic Flute” (83% sold), Bellini’s “I Puritani” (82%), and Puccini’s “Turandot” (77%). Productions with lower attendance include Mozart’s “Don Giovanni” and Strauss’ “Arabella” (both at 64%), while Giordano’s “Andrea Chenier” has struggled at 57%.
The upcoming 2026-27 season will open on September 22 with a new production of Verdi’s “Macbeth” starring soprano Lise Davidsen and directed by Louisa Proske. Another highlight will be the world premiere of composer Missy Mazzoli’s “Lincoln in the Bardo,” based on George Saunders’ novel, featuring an impressive cast including Christine Goerke, Stephanie Blythe, Anthony Roth Costanzo, and Peter Mattei.
Three productions new to the Met will also debut: Janáček’s “Jenůfa” starring Asmik Grigorian (November 16), Puccini’s “La Fanciulla del West” with Sondra Radvanovsky and SeokJong Baek (December 31), and the company premiere of Kevin Puts’ “Lincoln in the Bardo” featuring Elza van den Heever and Rolando Villazon (March 8, 2027).
The season will culminate with a special gala on May 25, 2027, featuring more than two dozen stars to commemorate the company’s 60th season at Lincoln Center.
The Met’s budget tightening extends beyond the reduced production schedule. The company recently announced 22 layoffs and implemented temporary salary cuts ranging from 4% to 15%. A previously planned Simon McBurney staging of Mussorgsky’s “Khovanshchina” has been postponed as part of these cost-cutting measures.
Gelb, who will mark his 20th year as general manager next season, acknowledged the difficult balance between artistic ambition and financial reality. “Unfortunately, I have to wear two hats,” he said. “I have to wear my artistic hat, and I have to wear my financial hat.”
Despite current challenges, Gelb remains optimistic about the quality of performances. “We’re in a kind of golden age of opera singing,” he observed, while noting that “the only difference between today and 30 or 40 years ago is that 30 or 40 years ago opera was much more in the cultural mainstream.”
Gelb indicated he intends to retire when his current contract expires in 2030. “That certainly is our current plan,” he confirmed.
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18 Comments
While the Met’s decision to scale back its season is understandable, I hope they can find ways to continue offering a diverse range of programming. The performing arts play a vital role in our communities, and accessibility is key.
The focus on extended runs of popular classics could be a smart approach, but I hope they don’t lose sight of supporting new and emerging artists as well. A balanced portfolio is important for the long-term health of the organization.
It’s encouraging to see that the Met’s ticket sales have rebounded to pre-pandemic levels, but the continued financial pressures are concerning. I hope they can find innovative ways to address the challenges while maintaining their artistic excellence.
The experiment with extended runs of crowd-pleasing classics is an interesting strategy, but I hope they don’t lose sight of the importance of diversity and accessibility in their programming. The performing arts should be inclusive and inspiring for all.
It’s understandable that the Met is facing financial pressures, but I hope they can find ways to maintain their high-quality programming and accessibility for audiences. The performing arts play a vital role in our cultural landscape.
The focus on extended runs of popular classics could be a smart move, but I hope they don’t lose sight of showcasing new and diverse works as well. Variety is key to keeping the art form vibrant and relevant.
While it’s understandable that the Met is grappling with financial challenges, I’m hopeful they can find a balance between cost-saving measures and maintaining their artistic excellence. The performing arts play a crucial role in our communities.
It will be interesting to see if this scaled-back season has any impact on ticket prices or accessibility for opera fans. Hopefully, the Met can find ways to keep the art form vibrant and accessible.
Interesting to see the Met Opera scaling back its lineup. While ticket sales have recovered, it seems they’re still facing financial pressures. The extended runs of crowd-pleasing classics could be a smart move to optimize costs.
I wonder if this is a broader trend across the performing arts sector as organizations navigate the post-pandemic landscape. It will be interesting to see how the Met’s experiment with extended runs plays out.
The Met’s decision to reduce its season lineup is a significant shift, and I’m curious to see how it will impact the overall experience for opera enthusiasts. While cost-saving measures are understandable, I hope they can find a balance that preserves the vibrancy and accessibility of the art form.
It will be interesting to see if other major performing arts organizations follow a similar path in response to the post-pandemic landscape. Balancing financial sustainability and artistic vision is a complex challenge, but one that is crucial for the long-term health of the sector.
The Met’s decision to reduce its season to just 17 productions is a significant shift, especially given its history. I’m curious to see if this will impact the variety of programming and accessibility for audiences.
The focus on classics like Tosca, La Bohème, and Aida could be a strategic move to draw in crowds, but I hope they don’t lose sight of showcasing new and diverse works as well.
The Met’s decision to experiment with extended runs of popular operas is an intriguing approach. It could help them optimize costs and resources, but I hope they don’t lose the diversity and dynamism that makes the Met so special.
I’m curious to see if this model will be adopted by other major performing arts organizations as they navigate the post-pandemic landscape. It’s a delicate balance between financial sustainability and artistic vision.
The reduction in the Met’s season lineup is a significant shift, and I’m curious to see how it will impact the overall experience for opera-goers. Hopefully, they can find ways to maintain their artistic integrity while addressing the financial challenges.
It will be interesting to see if this model is adopted by other major performing arts organizations as they navigate the post-pandemic landscape. Balancing cost-saving measures with artistic vision is a delicate challenge.