While Large Operas Flounder, Small Companies Flourish

In contrast to the troubles at bigger institutions, many small opera companies are flourishing, and their numbers are expanding. Some 33 such companies exist in New York City today, more than double the number a decade ago, according to Opera America, a membership organization that promotes the art form. They are surviving and thriving because their budgets and number of staged productions are only a fraction of that of the big boys, and they specialize in niches. LoftOpera presents scaled-down versions of classic operas staged in nontraditional settings, such as former factories. Gotham Chamber Opera sets itself apart by featuring seldom-performed compositions created for smaller venues.

Meanwhile, Beth Morrison Projects focuses on contemporary works.

The performances are attracting growing audiences. For example, an average of 340 people attended each performance of LoftOpera's Barber of Seville in November. That was up from an average of 136 during the company's maiden voyage—the May 2013 staging of Don Giovanni. LoftOpera's budget is projected to grow to $200,000 this year, up from $20,000 in 2013. Similarly, Gotham Chamber Opera now attracts 7,000 people a year, up nearly fivefold since the company's founding in 2007.

Their successes are especially impressive because overall U.S. opera attendance fell 11% from 2005 to 2013, to 2.2 million, according to Opera America. Declining numbers have been a major problem for the bigger companies. Last year, the Met's efforts to cut costs brought its unions close to striking. It eventually slashed its budget, but still ended the year with a $22 million deficit caused by high production costs and shrinking audiences.