Opera Philadelphia will offer tickets for as low as $11 throughout the season. Every ticket starts at this price, but patrons have the option to pay more if they wish.
Opera Philadelphia is the first major opera company in the country to implement a pay-what-you-wish model. Under this scheme, any seat for the 2024-2025 season can be bought for $11 or more, depending on the patron’s choice. Previously, ticket prices ranged from $26 to $226.
General director Anthony Roth Costanzo explained that making prime seats affordable, “from box to balcony from front row to the last row,” changes how people relate to opera. Costanzo, who took over from David Devan in June, believes that a universally affordable price democratizes opera, leading to significant changes in programming and marketing.
He mentioned that traditionally operas like “Carmen” are selected because they are popular and guarantee ticket sales which limits diverse programming. This new model allows for greater flexibility, and an opportunity to take risks with different productions without the constraint of high ticket prices.
Other Philadelphia arts organisations have adopted similar pay-what-you-wish pricing models before, although none as large as Opera Philadelphia. Azuka Theatre initiated this concept in 2016, and has continued with it. Curio Theatre experimented with it, and Philadelphia Theatre Week also tried the model last year.
Opera Philadelphia opted for a minimum ticket price of $11, rather than free admission, to reflect the value and production costs of their performances.
The first production under this model will be in September with the American premiere of “The Listeners” by local composer Missy Mazzoli. Costanzo described it as the most expensive opera the company has ever undertaken. It tells the story of a group who experience a mysterious sound and become susceptible to a cult-like leader, a theme he believes will resonate in the current political climate.
Despite financial struggles due to the pandemic, including postponed productions and a canceled season-opening festival, Opera Philadelphia has successfully raised $7 million in roughly ten weeks, allowing the company to settle its debts. Costanzo attributes part of this fundraising success to the enthusiasm for the new ticketing model.
He believes that seeing the demographic changes in the audience thanks to the pick-your-price model will inspire not just individual donors but also corporate and foundation support.
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