The summer of a typical opera fan usually revolves around Salzburg, Bayreuth, and Verona; this year, however, my personal festival season has been enriched by another chapter—indeed, by a few more “Eras”. While it doesn’t strike me as unusual to be both a Swiftie and an opera fan, my “dual identity” is met with a certain degree of astonishment on both sides.
On one hand, classical music fans wonder why anyone would voluntarily spend an evening amidst loud music and screaming neighbours in a packed stadium, while on the other hand, Swifties question how you can enjoy an evening where dancing and singing along are not permitted. Despite the initial differences between these two worlds, there are more similarities than one might expect. This is not only because Taylor Swift’s grandmother Marjorie Finlay (to whom the beautiful song “Marjorie” on the album Evermore is dedicated) was a trained opera singer who musically inspired Swift from an early age, but also due to the surprising number of similarities that connect opera fans and Swifties.
Perhaps the most striking element is the enthusiasm—almost fanaticism—of the audiences. Both Swifties and opera fans often travel great distances to attend a performance. Hotels and flights are booked months in advance, and holidays are planned around the Zero Hour. Tickets, which need to be acquired well in advance and are traded on the black market for several times their original price, are in high demand, whether for Taylor Swift’s Eras Tour or for particularly sought-after performances at events like the Salzburg Festival. Enthusiasts with lovingly homemade “Looking for tickets” signs can be found outside both the Bavarian State Opera and Wembley Stadium in London. In both places, desperate fans hope to obtain a ticket at the last minute so they can experience the show rather than just watch from the sidelines.
Probably the most striking element is the enthusiasm—almost fanaticism—of the audiences. Both Swifties and opera fans frequently travel long distances to attend a performance. Hotels and flights are booked months in advance, and holidays are arranged around the Zero Hour. Tickets, which must be secured well ahead of time and are often resold on the black market for several times their original price, are highly sought after, whether for Taylor Swift’s Eras Tour or for particularly coveted performances at events like the Salzburg Festival. Enthusiasts with lovingly homemade “Looking for tickets” signs can be found outside both the Bavarian State Opera and Wembley Stadium in London. In both places, desperate fans hope to obtain a last-minute ticket so they can be part of the show rather than just watch from outside.
“Say it once again with feeling
How the death rattle breathing
Silenced as the soul was leaving
The deflation of our dreaming
Leaving me bereft and reeling”
can be found, as well religious metaphors like:
“What if I roll the stone away?
They’re gonna crucify me anyway.”
With her talent for storytelling, Taylor Swift, who won poetry competitions as a primary school student, offers a wide range of interpretations and, with the close integration of lyrics, music, and staging, embodies a modern version of Wagner’s idea of the Gesamtkunstwerk. She not only writes the music and lyrics but is also often responsible for directing her visually stunning music videos.
Swifties prepare as meticulously and holistically for their performances as the artists themselves, with outfits that either emulate one of Taylor’s stage costumes, reference a line of text, or stylistically align with one of the Eras. The spectrum ranges from cowboy boots and fringed dresses (evoking the first two albums, Debut and Fearless, which were entirely dedicated to country pop) to colourful miniskirts from the album 1989 (marking the shift from country to pop) to flowing dresses in muted tones that match the indie-inspired albums Folklore and Evermore.
An essential element for (almost) every Swiftie’s styling is a generous amount of glitter and, of course, the iconic friendship bracelets featuring song titles or quotes that are exchanged among fans. This practice is not entirely alien to the world of opera, where prestigious premieres are often marked by great creativity in styling, adhering to the ‘see and be seen’ motto. It is common for make-up and outfits to be specially tailored to the opera in question.
The personality cult associated with pop stars like Taylor Swift is not a new phenomenon. During the Baroque era, such adulation was reserved for opera stars, and Franz Liszt even kept a dog with a matching hair colour to meet his fans’ demands for his distinctive curls. If we were to assess today whether fans of Jonas Kaufmann or Taylor Swift are more fanatical, the Bavarian tenor might likely top the list, even centuries after the Baroque singer cult. Despite the opera world’s emphasis on collective ensemble performances, it is still the big names that ensure full houses and enthusiastic reactions.
Both fan groups share habits that might seem peculiar to outsiders: refraining from applauding after Act 1 of Parsifal is as natural for seasoned opera-goers as shouting “One, two, three, let’s go bitch” when Taylor Swift sings the line “But you can make me a drink” during Delicate. While opera enthusiasts show their appreciation with shouts of “bravo”, fans at the Eras Tour cheer as loudly and as long as they can after Champagne Problems, as each audience strives to set a record for the longest applause.
Despite the many similarities, opera fans could certainly learn from Swifties in terms of openness and tolerance. At Taylor Swift’s concerts, the audience is wonderfully accepting, welcoming anyone with even a hint of glitter as part of the community. In contrast, despite the growing diversity and relaxed atmosphere in opera houses, there are still occasional encounters with mansplaining older gentlemen and pretentious individuals who disapprove when someone in jeans enters the venue or speaks louder than a whisper.
A little more of a “shake-it-off” mentality would benefit some in the opera world, as the essence of the experience is to be emotionally moved and carried away. This is achievable whether attending a performance at the Arena di Verona or a stop on the Eras Tour, because the themes and topics explored in both opera classics and Taylor Swift’s songs are surprisingly similar.
Love, with its positive and negative aspects, along with themes of disappointment, friendship, death, and hope, permeates both Taylor Swift’s songs and operatic arias composed centuries ago. If opera characters were to express their feelings through Swift’s lyrics, Don Giovanni might declare, “I’ve got a long list of ex-lovers, they’ll tell you I’m insane. But I’ve got a blank space, baby, and I’ll write your name.” The Principessa di Bouillon could threaten Adriana Lecouvreur with, “She should keep in mind there’s nothing I do better than revenge,” while Des Grieux from Puccini’s Manon Lescaut might sing, “I’m wonderstruck, blushing all the way home. I’ll spend forever wondering if you knew I was enchanted to meet you!”
Meanwhile, Violetta would lament her failed relationship with Alfredo with, “I didn’t have it in myself to go with grace. And you’re the hero flying around, saving face. And if I’m dead to you, why are you at the wake? Cursing my name, wishing I stayed.” Gilda might take a mischievous pleasure in adding, “But Daddy I love him! I’m having his baby. No, I’m not, but you should see your faces,” to utterly shock her father, Rigoletto.
Reflecting on the parallels between operatic arias and Taylor Swift’s songs, I began to imagine how opera characters might behave as Swifties. During a concert at Milan’s San Siro stadium, I pictured Donna Elvira mentally cursing Don Giovanni while listening to All Too Well, and Carmen celebrating with We Are Never Ever Getting Back Together.
Envisioning operatic heroines in their best glitter outfits shouting “Fuck the patriarchy” alongside Taylor Swift in the summer heat, I realised how delightfully these worlds could intertwine. Taylor Swift’s Eras Tour would certainly benefit from an interval, given the three-and-a-half-hour duration of the show—a perfect opportunity for a toilet break without missing a note! And there’s nothing wrong with swapping colourful friendship bracelets with favourite lyrics at a summer opera festival.
At the time of writing, I still had two dates for the Eras Tour at the Ernst Happel Stadium in Vienna, which were meant to be the highlight of my Taylor Swift summer before my subsequent opera trip to the Salzburg Festival. As an opera fan, cancellations and cast changes are part of the experience, with the risk of having paid for flights, hotels, and tickets only to miss the singer you wanted. However, the cancellation of Taylor Swift’s concerts due to a suspected terrorist attack was a blow far more brutal than any email from the Vienna State Opera about a cast change. In opera, even if a singer cancels, you still experience the performance and might even discover a new voice. With a cancelled pop concert, there is rarely any such consolation.
Vienna responded differently, and a wonderful dynamic quickly emerged in the city. Disappointed Swifties found comfort everywhere—free burgers, cushions, and jewellery were offered, museums were accessible at no charge, and a Protestant church opened its doors for communal music listening. Spontaneous singing sessions occurred on Stephansplatz, and in Corneliusgasse (which became a pilgrimage site due to its name’s resemblance to Swift’s song Cornelia Street), two families provided music, drinks, and chocolate for the gathered Swifties throughout an entire Saturday. Even ORF joined in with a surprise, teaming up with Disney+ to present an unexpected free TV premiere of the concert film. This gesture also resonated within my opera circles, with messages from people previously unacquainted with Taylor Swift who were captivated by her music and show.
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