The Metropolitan Opera is recalibrating its artistic plans for the 2026-27 season, announcing a schedule of 17 productions – its smallest lineup in at least 60 years. This adjustment reflects the ongoing financial challenges faced by the institution as it continues to recover from the significant disruptions caused by the coronavirus pandemic. The move comes as the Met navigates a complex landscape of cost-cutting measures and seeks to stabilize its financial footing, even as ticket sales reveal signs of improvement.
The reduction in productions, down from a pre-pandemic average of around 25, is part of a broader effort to address fiscal strain. The Met’s general manager, Peter Gelb, has indicated a shift towards longer runs of popular operas, aiming for greater economic efficiency. This strategy involves double-casting productions to maximize performance opportunities within a reduced schedule. The changes are occurring even as the Met sees a positive trend in ticket sales, reaching 72% for the current season, a return to pre-pandemic levels, according to recent reports.
Financial Pressures and Operational Adjustments
The Metropolitan Opera, like many performing arts organizations, experienced substantial financial setbacks during the COVID-19 pandemic. These challenges have necessitated a series of austerity measures, including salary reductions and staff layoffs. In January 2026, the Met announced pay cuts ranging from 4% to 15% for 35 executives earning over $150,000, impacting figures like General Manager Peter Gelb, who earned approximately $1.4 million in 2024 and Music Director Yannick Nézet-Séguin, who earned $2.05 million in the most recently disclosed fiscal year The Guardian. 22 positions were eliminated from the company’s 284 administrative staff The Violin Channel.
These staff reductions and salary adjustments are projected to reduce the Met’s expenses by $15 million for the remaining six months of the current fiscal year and by an additional $25 million in the following fiscal year. The Met is also postponing a planned staging of Mussorgsky’s 19th-century opera, Khovanshchina, as part of these cost-cutting efforts The New York Times. Before the pandemic, the Met typically programmed around 25 productions per season.
Focus on Revivals and Popular Works
The 2026-27 season will feature a significant emphasis on revivals of well-loved operas. Puccini’s Tosca and La Bohème, and Verdi’s Aida will each receive extended runs, accounting for 71 of the 187 individual performances – representing 38% of the total schedule. Gelb explained that this approach is an experiment aimed at maximizing efficiency and appealing to a broader audience. The Met is also exploring strategies to attract new audiences, as evidenced by the success of Mason Bates’ The Amazing Adventures of Kavalier & Clay, which prompted the addition of four extra performances this month due to strong ticket sales (84% sold).
Despite the reduced number of productions, the Met remains committed to presenting new works. Gelb has expressed a goal of stimulating audiences with innovative operas, and the positive reception of Kavalier & Clay suggests a potential path forward. The Met anticipates restoring full employee pay by August 2027, or sooner if the company’s financial situation improves.
The Met is also awaiting the outcome of a tentative agreement reached last September with Saudi Arabia, which could provide a significant revenue stream. The organization is actively pursuing other revenue-generating initiatives to ensure its long-term financial sustainability.
Disclaimer: This article provides informational content about the Metropolitan Opera’s season adjustments and financial situation. It is not intended to provide financial or investment advice.
As the Metropolitan Opera navigates these challenges, the coming months will be crucial in determining its long-term financial health and artistic direction. The success of the new season’s strategy, coupled with the potential benefits of the Saudi Arabian agreement, will be key factors in shaping the future of this iconic institution. What are your thoughts on the Met’s approach to balancing artistic vision with financial realities? Share your comments below.
