Proceedings 2026, 139(1), 23; https://doi.org/10.3390/proceedings2026139023 - 19 May 2026
Abstract
Opera Out of Opera 2 (OOO2) is a Creative Europe cooperation project that experiments with digital, participatory strategies to reconnect opera with younger audiences and to reshape professional capacity for conservatory students. Rather than treating opera as a fixed repertoire to be transmitted,
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Opera Out of Opera 2 (OOO2) is a Creative Europe cooperation project that experiments with digital, participatory strategies to reconnect opera with younger audiences and to reshape professional capacity for conservatory students. Rather than treating opera as a fixed repertoire to be transmitted, the project frames it as a site of co-creation, where youth and emerging professionals share agency in how the art form is presented, mediated and discussed. This article has two related aims. First, it examines how OOO2’s digital-first Audience Engagement Strategy (AES) may contribute to audience development among 18–25-year-olds, focusing on reach, participation patterns and perceived accessibility. Second, it investigates how participation in the project appears to affect conservatory students’ entrepreneurial self-efficacy and their understanding of their potential social role as musicians. Methodologically, the study combines a participatory action research (PAR) framework with an embedded single-case design. Quantitative data include pre- and post-intervention questionnaires with 132 higher music education students. An audience survey completed by 1256 spectators, complemented by social media and web analytics, is also embedded. Qualitative material derives from semi-structured interviews (n = 30), focus groups with project stakeholders and direct observation of workshops, rehearsals and performances. Results indicate a marked digital reach among younger audience and suggest that shorter formats, informal settings and second-screen mediation can lower perceived barriers to opera attendance for first-time or occasional spectators. Among students, mean scores for entrepreneurial self-efficacy increased from 3.2 (SD = 0.8) to 4.1 (SD = 0.7), corresponding to a large effect size (Cohen’s d = 1.20, p < 0.01), a pattern broadly consistent with research on self-efficacy and capacity creation in music and arts-based entrepreneurship education. The discussion connects these findings with a bibliometric mapping of audience development in opera, conducted on 147 Scopus-indexed documents, and argues that OOO2 occupies a still under-theorized intersection between youth-centred cultural participation and entrepreneurial capacity-building in higher music education. While the single-case design and the use of self-constructed survey items limit generalizability, the project may offer a useful reference point for institutions seeking to rethink opera’s approach as a digitally mediated, socially engaged and educationally meaningful practice.
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