Editing Opera (section)

====Other trends====
A common trend throughout the 20th century, in both opera and general orchestral repertoire, is the use of smaller orchestras as a cost-cutting measure; the grand Romantic-era orchestras with huge string sections, multiple harps, extra horns, and exotic percussion instruments were no longer feasible. As government and private patronage of the arts decreased throughout the 20th century, new works were often commissioned and performed with smaller budgets, very often resulting in chamber-sized works, and short, one-act operas. Many of [[Benjamin Britten]]'s operas are scored for as few as 13 instrumentalists; [[Mark Adamo]]'s two-act realization of ''[[Little Women (opera)|Little Women]]'' is scored for 18 instrumentalists.

Another feature of late 20th-century opera is the emergence of contemporary historical operas, in contrast to the tradition of basing operas on more distant history, the re-telling of contemporary fictional stories or plays, or on myth or legend. ''[[The Death of Klinghoffer]]'', ''[[Nixon in China]]'', and ''[[Doctor Atomic]]'' by [[John Adams (composer)|John Adams]], ''[[Dead Man Walking (opera)|Dead Man Walking]]'' by [[Jake Heggie]], ''[[Anna Nicole]]'' by [[Mark-Anthony Turnage]], and ''Waiting for Miss Monroe''<ref>{{Cite news |date=2012-06-12 |title=A Dutch Take on a Cultural Icon|author=George Loomis|url=https://www.nytimes.com/2012/06/13/arts/13iht-loomis13.html |access-date=2023-12-08}}</ref> by [[Robin de Raaff]] exemplify the dramatisation onstage of events in recent living memory, where characters portrayed in the opera were alive at the time of the premiere performance.

The [[Metropolitan Opera]] in the US (often known as the Met) reported in 2011 that the average age of its audience was 60.<ref>{{cite news |last=Wakin |first=Daniel J. |title=Met Backtracks on Drop in Average Audience Age |url=http://artsbeat.blogs.nytimes.com/2011/02/17/met-backtracks-on-drop-in-average-audience-age/ |work=[[The New York Times]] |date=17 February 2011| archive-url=https://web.archive.org/web/20210204235718/http://artsbeat.blogs.nytimes.com/2011/02/17/met-backtracks-on-drop-in-average-audience-age/ |archive-date= 4 February 2021}}</ref> Many opera companies attempted to attract a younger audience to halt the larger trend of greying audiences for [[classical music]] since the last decades of the 20th century.<ref>General reference for this section: {{harvnb|Parker|1994|loc=ch. 9}}</ref> Efforts resulted in lowering the average age of the Met's audience to 58 in 2018, the average age at [[Berlin State Opera]] was reported as 54, and [[Paris Opera]] reported an average age of 48.<ref name="age2018">{{cite news |url=https://www.nytimes.com/2018/02/19/arts/music/paris-opera-young-audiences.html |title=An Unlikely Youth Revolution at the Paris Opera |last=Grey |first=Tobias |date=19 February 2018 |work=[[The New York Times]] |archive-url=https://web.archive.org/web/20210211171621/https://www.nytimes.com/2018/02/19/arts/music/paris-opera-young-audiences.html |archive-date=11 February 2021}}</ref> ''[[New York Times]]'' critic [[Anthony Tommasini]] has suggested that "companies inordinately beholden to standard repertory" are not reaching younger, more curious audiences.<ref>{{Cite news|last=Tommasini|first=Anthony|author-link=Anthony Tommasini|date=2020-08-06|title=Classical Music Attracts Older Audiences. Good.|work=[[The New York Times]]|url=https://www.nytimes.com/2020/08/06/arts/music/classical-music-opera-older-audiences.html|access-date=2022-11-30|archive-date=30 November 2022|archive-url=https://web.archive.org/web/20221130052518/https://www.nytimes.com/2020/08/06/arts/music/classical-music-opera-older-audiences.html|url-status=live}}</ref>

Smaller companies in the US have a more fragile existence, and they usually depend on a "patchwork quilt" of support from state and local governments, local businesses, and fundraisers. Nevertheless, some smaller companies have found ways of drawing new audiences. In addition to radio and television broadcasts of opera performances, which have had some success in gaining new audiences, broadcasts of live performances to movie theatres have shown the potential to reach new audiences.<ref>{{cite web |title=On Air & On Line |url=http://www.metoperafamily.org/metopera/broadcast/hd_events_alternates.aspx |publisher=The Metropolitan Opera |year=2007 |access-date=4 March 2021 |url-status=dead |archive-url=https://web.archive.org/web/20071120105836/http://www.metoperafamily.org/metopera/broadcast/hd_events_alternates.aspx |archive-date= 20 November 2007}}</ref>