The Met played all season one-third empty
NewsFigures released at the close of the Met season to the Associated Press show a slight increase in ticket sales at the Metropolitan Opera – from 61 percent in the post-Covid return year to 66 percent in 2022-23.
Before the Covid shutdown, the Met ran at 75 percent of capacity in 2018-19.
Playing one-third empty across a whole season of relative prosperity is a dismal result for the biggest performing arts companny in America.
And it turns out dollar earnings were even worse. Taking discounted tickets into account, the Met’s revenues were just 57 percent of full capacity.
General manager Peter Gelb continues to clutch as straws. He claims that a bot attack which shut the box-office for a week may have clipped as much as 2 percent of seasonal sales, and that the average age of Met attenders has fallen encouragingly from 50 to the mid-40s.
In other company stats, music director Yannick Nézet-Séguin earned $1,195,702 and Gelb $1,094,327.
It has become a TV studio and no longer a place where people come together. As a matter of fact people were pointedly and grandly excluded in recent seasons, were they not?
We don’t need your anti science barbs. If the Met had to become a TV studio it was because it was necessary and prudent.
As for the wider accusation, the Met is broadcasting in video only around 5% of their performances, so ostensibly it hasn’t become a TV studio since 95% of the time they aren’t filming.
I’m very grateful the Met has its cameras going, because I will never be in that auditorium in person. I can go to my neighborhood cinema 10 times a year to see in HD and hear in Dolby what’s going on. The theater holds 4000 (a completely overbuilt hall), while up to 300,000 see the opera in a cinema. That sounds like a wise management plan.
that over built hall until fairly recently was sold 110% the decline in quality international name artists as well as the imposition of woke policies of equity and diversity have had a devastating impact on this and other important opera companies in north America
“Yannick Nézet-Séguin earned $1,195,702”
And he earns about another $1.4 M from Philadelphia.
He has the best gig in America, earning $2.6 M just by taking a train between 2 jobs.
Not to mention his Montreal salary, getting paid too just for going home.
Nice work when you can get it.
So you really think that all what his jobs entail is to show up in both places and do nothing?
I am saying by definition he does not have a full time job at either place, but if he did devote his full time to either place, he certainly would not get $2.6M from either place, so by taking on 2 part-time jobs by definition, he is able to earn more than if he had 1 full-time job, even though he is spending no more time at both jobs than if he had devoted all his time to 1 job.
Capische?
As the saying goes, do I have to do the math for you? (Although I just did.)
I guess this means he can afford better than the drugstore brand of nail polish.
Meeeeoooow.
Careful, your envy is showing.
Yes, Yannick is just taking the train. There’s no responsibility in learning countless scores, being the very public face of multiple world-renowned performing arts organization, with its reputation and financial and other health at stake – he’s just waving the stick, taking private jets and collecting the money!
Bravo!! The least intelligent comment on here, and that’s saying something.
Plus touring the Chamber Orchestra of Europe, Bavarian Radio Orchestra and Guesting Rotterdam Philharmonic…
Actually, Yannick is driven by car between NYC and Philadelphia.
Does he have a full-time dedicated car and chauffeur as does Peter?
I live in Isreal- and travel a lot to see concerts amd opera production around the world: 60-70 % -this is the new “normal” capacities in most concerts : This is the usual capacity in most Israel PO concerts I attend. This was the capacity is 3 out of 4 cocnerts opera productions I watched in Amsterdam last week (only the Grigory Sokolov recital had a near “full house”). the exception is perhaps in Vienna , where I was in December, things were somewhat better (but even there- In some “high profile” concerts there were many empty seats).
Does anybody really even care anymore? So tired of this and the broken leadership there. They deserve to fail.
No, the MET does not deserve to fail due to all the people that enjoy it world wide and support it. The reason the house is 3800 seats is for revenue since the US Governments don’t support the arts. (The MET supports Ukraine so maybe the could get some Pentagon monies, a few airplanes, troops in the seats, etc.
Is there an operable opera house that is holding it’s own, building an endowment and audience?
PS: I wish they would release DVDs of Price’ last AIDA, Sutherland’s DON GIOVANNI with Morris in the old Berman production right before the MET unfairly cancelled her contracts and make Compact Discs available of their broadcasts in restored sound but on demand as some were on Sony. You could start with the Sutherland, Horne, Bergonzi, Siepi NORMA, ‘conductor unknown’ . Better than removing seats and offering sporting events!!!
Opera is great singing and a great conductor who intrinsically understands voices.
Our throw-away society does not permit voices anymore to develop and grow into roles, and conductors are only concerned with their image and big careers, not the humble service of defending this rich and complex art form. The public isn’t stupid and would pay the price of we had the same frameworks which nurture the likes of what we heard in the 60’s, 70s and partially into the 80s, before decisions were placed into the hands of agents and impresarios who know absolutely nothing about music.
Sad modern legacy for this legendary house.
If you come from a nation where the people are daily indoctrinated about everything always being about power relationships and the white patriarchy and that everybody is a victim how in the world would you expect an elite art like opera to thrive? Seriously now.
If you love it and want it fight for it – die in a ditch for it as I would for Beethoven.
Your comments go straight to the bin when you start whining about ‘white patriarchy.’
No white patriarchy in Asia or Africa and some W Hemisphere countries. So your generalisation is unfortunate.
Sounds like you have a local and very personal issue.
I guess you aren’t aware of the imperialism (both literal and cultural) and colonization that affected most of the world for hundreds of years?
You’d think tickets at the Met would be cheaper given all those stats…
Oh grow up! Buy s as cheap seat and move up! Pretend it’s an airplane. “No really, this is my seat that’s why I arrived early. I have a sprained ankle and a child. Could I get you a drink from the seat you paid for but won’t be sitting in?” You know you’ve bought a cheap seat when the ushers who showed you to your seat (or rather pointed and said “It’s up there and they’re numbered. Thank you”) get better free seats than you!
I had this issue with my date at a recent Anoushka Shankar performance in LA. I booked late and got the best seats available at that point. In fact there were a number of no-shows and she was all for upgrading. My refusal was seen as a typical British characteristic.
WHY? If your budget has lots of fixed costs regardless of how many tickets you sell, and your contributions and gifts are flat, you need to maximize revenues to survive. Not cut ticket prices. But it cannot go in for long.
I for one am hopeful that the ongoing shift away from the old, musty, dead, white male repertoire will revitalize this archaic institution.
How many more Verdi or Wagner operas can they produce? Some of us love opera, but at some point enough is enough, right?
I wonder if they have considered producing other kind of events.
The Boston Symphony used to host handball tournaments in the summer with the seats removed.
Just thinking out loud…
I’ll assume you are joking, otherwise I may be banned for my use of foul language.
I wouldn’t mind going to NY to see more productions of Wagner or Verdi (or Puccini) IF, and only if, they would put on productions that at least tried to present them with staging that would have been recognizable to the composer. Traditional, old-fashioned, authentic…call it what you want but I do not like and won’t support some of the stupid staging ideas out there. And…they need to clean up NYC, get the junkies, homeless and mentally ill off the streets and out the subways.
Don’t you just love progressivism!!!?? Standards always seem to go up (side down).
Certainly, if we want a level of minimal quality in music making, one must wonder if the “old, musty, dead, white male” repertoire is able to be compare itself with the scribble and squeaking from the young, fresh, alive, untalented and nepotistic new repertoire being played. The reason why there’s so much Wagner and so much Verdi is because there’s a sincere lack in new composers making long lasting works, instead of pandering to social engineering tactics or clearly political views. If you want to put the mid-40s audience to hear a 2 hour opera about a non-binary rat in a leotard, you’re better have damm good music to pair along with it.
I agree! The reason we listen to those older composers and see older operas is that they are amazingly good music. I won’t pay big bucks to be irritated by bad music. Beauty still matters!
Just reading Berlioz’s Memoirs, and an exchange with Cherubini:
“Someone stopped him [Cherubini] and said, ‘Hallo, aren’t you coming to hear this new thing of Berlioz’s?’ ‘I do not need to know ‘ow music ought not to be wreetten,’ he retorted, with the air of a cat about to be given a dose of mustard.’ (1830)
Plus ça change!
Wrong.
Whatever you and other woke, virtue-signaling cretins may say, Western culture without dead white male input would be the null set. At the rate things are decaying in New York City especially, the Met is fortunate that it hasn’t suffered the fate of Starbucks, Target, and every discount and “dollar” store in areas that are more than 2 percent “diversified.” Wha’s more, given Peter Gelb’s complete surrender to the degenerate cult of Eurotrash Regietheater, the Met no longer serves any useful aesthetic purpose.
So Far from true, and I can’t even debate you.
Those top salaries are a scandal and a symptom of the disease gnawing at America’s heart.
Not like Hollywood movie stars, though, aye.
Scandal? Or Capitalism at it’s best? $1 million may sound like a lot of money, but it’s chicken feed compared to the tens of millions we pay athletes, entertainers, and other celebrities. The public – all over the world – has voted for what it values by offering unimaginable wealth to people who contribute the least to society. The people who really do make a difference get niggardly salaries: police officers, teachers, nurses, etc.
Yes, it’s not like singing, playing, or conducting music is challenging or difficult…
In a competitive GLOBAL classical music marketplace you gave to pay conductors salaries in NYC that are commensurate with those in Munich, Berlin, Cleveland…. Or why would anyone come to the Met in high cost-of-living NYC?
Furthermore, if you want to get upset by payments and salaries, start with sports. FIFA, eg, is the scandal, not NYC.
Indeed. Think of what good could be done in our cities with just a fraction of the money these people are earning. Shocking.
Thank you for the facts and figures Mr Lebrecht. The last time (I think it was the last) you wrote about Met attendance you were savaged in the comments, outright called a liar. (The fury with which people need to defend their opinions against actual facts is of course the root of so much of our strife – but that’s the human condition.) Based on my own experience this season, attending only two performances – both of which were well under 50% filled, honestly probably more like 25% – I not only had no reason to doubt you but in fact every reason to believe you. I’m actually a bit encouraged though now to see the comparison to previous seasons and see that the decrease, though troubling, is perhaps not as drastic as I’d thought, and of course everyone, everywhere, is still in pandemic recovery. But the fact remains, the Met is kind of a mess. Is it really that much worse – if undoubtedly very different – than previous eras? I’m in no position to judge. I do hope that once YNS has a chance to really shape things, there will be improvement. I have some faith in him. But in any case, Gelb must go. Should be obvious to everyone. Thanks again for all that you share here.
The facts of that specific night were disputed by people that attended that evening, the poster was referencing somebody else that maybe got over enthusiastic at his chance to bash the Met 20 or 30 minutes too early…
Something seemed off about Peter Gelb’s salary, as reported in this press release. Out of curiosity, I looked at the top salaries reported on the Met’s Form 990 from recent years.
While Peter Gelb’s “Reportable Compensation” has seemingly decreased since fiscal year 2018, his “Other Compensation” has increased astronomically.
FY18
Reportable Compensation $1,449,763
Other Compensation. $719,126
FY19
Reportable Compensation $1,490,665
Other Compensation. $535,126
FY20
Reportable Compensation $1,460,864
Other Compensation $865,808
FY21
Reportable Compensation $1,490,665
Other Compensation. $879,653
FY22 (from the Met’s reporting)
Reportable Compensation $1,094,327
Other Compensation (Not yet made public)
What constitutes “Other Compensation”?
‘splain it to me, Lucy.
Other compensation covers a variety of items: employer-provided benefits such as health, life, and other insurance; contributions to an employer-funded retirement plan; reimbursement for housing expenses; and other fringe benefits such as a car and driver.
Could be delayed comp like a 401k pension fund, certain life insurance benefits, use of a company jet or a company flat in town, etc
It may be contributions to a retirement plan, or deferred compensation to be paid after he leaves the scene.
The people will always vote with their feet. Continued failure to accept that fact can only lead to failure.
Reasoning like yours belongs in politics on the conservative right. Why don’t you, and your clear eagle eye perception offer s solution?
Those salaries are outrageous!! Dump both of those clowns and bring in Muti and Christine Scheppelmann to run the show. And cut down the administrative staff by at least 50%.
Why Christine Scheppelmann, may I ask?
Do you have any idea what Muti earns in Chicago? Probably more than YNS. Do you have any idea how much admin staff it takes to run a giant opera company? Cutting is easier said than done.
They don’t even work from June to September!
Muti gets $3m at CSO
Muti? Are you masochistic?
Just like everyone else post pandemic. No story.
Remember though that 66% of a 4000 seat house is still more than the ROH or Wiener Statsoper or La Scala. So the interest in opera remains good in NYC and with the hoped for return of tourism it should get fixed. I went almost once a week this spring season and it is true that I couldnt believe how many young people were in the audience and they didnt look like they were Juilliard students; many people in their 40s or 30s were beautifully dressed. I dislike Gelb as much as any of you. But this spring season was much better in quality of productions and in the singing than any in my memory, so hopefully Gelb will take notice. Also last night the met orchestra and chorus with Y N-S were absolutely terrific to a at sold out Carnegie Hall for the Brahms requiem. I hope they succeed for they are a great institution
I appreciated your upbeat and factual comments. Thank you.
I’m not sure why Norman always seems to be bashing anything American…it’s getting old. Look at the numbers, in another light…at 66% capacity, the Met is still selling 2,680 seats per night. Any other house doing as well? I’m no fan of Peter Gelb (in fact, I really dislike what he has done to the Met). But, you have to look at more than one set of numbers.
Yannick goes on 60 Minutes and says basically….I don’t care about traditionalist and if I piss them off. I personally think the traditionalist he derides have been the loyal following that has kept the Met afloat. I can’t really think of a comparable situation of an enterprise expressing such flippant disregard of their supporters. And since that is the position of the Met, I don’t plan to return.
75% of around 3,900 seats is still almost 3,000 attendees. The auditorium of the Met is the largest in the world, so there’s that.
Regardless, if traditional opera is not appealing to enough people, rap artists should be recruited to work in the art form. Whether that’s being sarcastic or not is altogether in the eye (and ear) of the beholder.
Beyond that, too much music in opera isn’t exactly hummable or memorable enough. Maybe John Williams should be commissioned to do an opera. Whether that suggestion is a case of sarcasm or not is altogether in the eye (and ear) of the beholder.
I shall be attending a concert tomorrow evening: Scheherazade and Petruschka. I got one of the last tickets. For next season the concert in Brussels of Handel’s Giulio Cesare in Egitto with Cecilia Bartoli is already sold out. I have not attended one opera or concert in the past two years (some overlapping with Covid) that have not played to full houses.
We used to go to at least a couple of MET operas per season. We drive from out of state, but it is a doable distance. We stopped attending, there are many people like us. The cost of attendance does not justify strange staging and mediocre signing (Mr. Netrebko comes to mind as an example). We will return for quality art. Until that happens – no, thanks. Maybe Mr. Gelb indeed needs to give his seat to someone new.
Always let the number do the talking. But always look at disastrous Chicago as the benchmark in badness, and you can’t go wrong.
The Met running at 66% capacity vs. 75% represents a ~12% drop in attendance. The first year after COVID, we learn that the Met run at 61%, i.e., a ~19% drop vs. the 75% pre-Covid levels.
But tickets sold by the CSO in 2021/2022 were 210,227, a stunning ~25% drop against the 276,166 tickets sold in 2018/2019, the last full season before COVID hit. An absolutely terrifying ~40% drop (!!) against the 347,502 tickets sold in the 2017/2018 season. Remember that the CSO went on strike in 2019, so really the 2017/2018 represents their true pre-Covid level.
Regardless, the conclusion is that Jeff Alexander’s attendance results are 31% worse than Peter Gelb’s if you look at the 2021/2022 year (25% vs 19% drop). They are more than twice as bad (!!!) if you compare 2017/2018 in Chicago (their true pre-Covid level) against the 2018/2019 New York year (NY pre-Covid level) (40% vs 19% drop).
How can Chicago break these negative records, one may ask? Well they have the Italian Stallion, he is the tie breaker not only for Principal Horn auditions, but in many different nefarious ways, 🙁
Nice job.
Look at those two salaries and an immediate answer to the fiscal situation occurs. Gelb is a disaster and needs to be fired! He “commissions” “new” productions at higher costs and fewer performances; instead, let him take no salary. The Met’s resources for existing productions are there. Perform existing operas and LOWER prices to encourage those who cannot afford now and to acquaint new people with the JOY and Excitement of OPERA. Get rid of Gelb!!
It’s sad news, and it’s not right to hang it all on Gelb, even if he has done a poor job in many respects. If he had done a better one, would the sales be much higher? I doubt it.
There’s no point in saying that ticket-buyers are tired of Verdi and Wagner. All one can prove from current stats is that ticket buyers aren’t turning out very well for Verdi and Wagner *as sung and acted currently.* Some people (some of them unfortunately decision-makers in various levels of the biz, from training programs to casting directors to Intendants) have managed to convince themselves either that standards are pretty much comparable to what they were in the past, or that it doesn’t matter whether they are or not.
The fact that the average age of the audience has become younger may simply be caused by the fact that the older, loyal, audience that supported the Met for generations has stopped coming because of terrible productions, poor casting and uncongenial, woke repertory with little lasting value.
More likely the members of the “older, loyal audience” have become infirm, deaf, blind – or dead.
Difficult to attend/appreciate the opera in the first three cases; rather impossible in the fourth…
Can’t beat Father Time…
There is always a hint (okay a very big hint) of glee in the stories on here of failure at the Met. It puzzles me.
I remember when most Met performances were sellouts and I waited in line for SROs. Now they can’t give seats away! There’s no “accountability” at the top anymore. Exorbitant salaries don’t guarantee successful programming and obviously the Met’s future will depend on some fast and serious soul-searching and administrative head-rolling!
Let’s look at this from a positive perspective instead of a negative one. The fact that there’s been an increase, not a decline, in ticket sales, and the fact that the average audience age is getting younger, not older, are both very encouraging and worthy of celebrating. Yes, it’s baby steps, but in the right direction. It’s also worth remembering that we’re emerging from the worst pandemic in a century, and unlike many opera companies and orchestras that have shut down altogether as a result, the Met hasn’t cancelled a single performance in the last two seasons, which is a remarkable accomplishment. Plus, the latest uptick in audience attendance for the contemporary operas augurs well for next season, in which they’ll be doing quite a few of them. So again, let’s pay respect where it’s due, and be optimistic about the future instead of pessimistic.
By the way, if you want to personally make a difference in the effort to improve their audience attendance, then why don’t you buy a ticket for one or more of their performances instead of bemoaning the problem from behind a computer/phone screen? Actions speak louder than words, after all.
Ticket prices are out of line at the met. All classical venues charge too much in an era where classical music is not appreciated. I would think filling the hall would be a priority. Charging less for a seat is better than leaving it empty and it might help draw a new audience
Judging from what I’ve seen this season locally, attendance started slow and ended better. 23-24 should be up to pre-pandemic attendance.
I guess the numbers don’t lie but every performance I attended was fuller than 2/3d. I didn’t see a big difference now between 2019 and 2023.
I think they should take out some of the empty seats and put in recliners like they have a movie theaters because I would go if I could snooze through a lot of the Opera and lean back and relax I think that would make a difference
With being an American barn of a place that holds roughly 3,750, and given life itself and people’s habits have changed, still a lot of people attending if that is the ratio.
… or two-thirds full?
I stopped attending for “political” reasons, since the Met became political. I may be in an ideological minority…but I will not support anything that is contributing to the destruction of art and culture… indeed Western civilization itself.
Until Gelb and the Board are replaced, I’m out.
Oh btw I’m a young lbgtqia bipoc…now whatchu gonna say?
Neither Gelb nor Nezet-Sequin earned their salary!