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deÞýskaland  7868 (81.758m)
usAmeríka  1852 (308.746m)
atAusturríki  1438 (8.356m)
frFrakkland  1301 (65.822m)
itÍtalía  1259 (60.419m)
Total number of performances by country, for the 2011/12 season. In brackets, the national populations in millions. NB: figures for countries outside western Europe and North America (particularly Russia) will be too low, as it is difficult to get accurate and complete information for them.
As Operabase collected about 21,000 performances in this season, Germany is mounting about one third of all opera performances globally.
Lönd, mv. höfðatöluTop
atAusturríki172.1 (1438 /8.356m)
eeEistland103.0 (138 /1.340m)
chSviss97.4 (758 /7.786m)
deÞýskaland96.2 (7868 /81.758m)
seSvíþjóð65.2 (610 /9.354m)
isÍsland50.3 (16 /0.318m)
czTékkland49.7 (531 /10.675m)
noNoregur41.3 (204 /4.938m)
huUngverjaland38.7 (387 /10.000m)
10 skSlóvakía33.9 (184 /5.430m)
The number of performances per million citizens. In brackets, the total number of performances and the population in millions.

1de (#1)Berlin  571  (0.34m)
2at (#1)Wien  570  (2.00m)
3uk (#1)London  438  (0.83m)
4fr (#1)Paris  391  (1.02m)
5cz (#1)Praha  368  (1.25m)
6us (#1)New York  362  (18.22m)
7ru (#1)Moscow  352  (10.56m)
8de (#2)München  340  (0.27m)
9de (#3)Dresden  327  (0.08m)
10de (#4)Hamburg  281  (1.77m)
11hu (#1)Budapest  264  (0.25m)
12se (#1)Stockholm  231  (1.25m)
13au (#1)Sydney  223  (0.36m)
14ch (#1)Zurich  205  (0.37m)
15ru (#2)St Petersburg  203  (4.88m)
16de (#5)Köln  185  (1.00m)
17pl (#1)Wroclaw  177  (0.06m)
18de (#6)Frankfurt  175  (2.29m)
19es (#1)Madrid  172  (0.33m)
20de (#7)Stuttgart  168  (1.80m)
The number of performances in each city, in the 2011/12 season. The figure given in brackets is the urban population (the population of the contiguous built-up area) in millions.
Measured by the number of opera performances in the 2011/12 season, the most operatic cities were Berlin (with 594 performances), Wien, London, Paris, and München (in position 5), followed by Prague, New York, and Dresden. 

Since our first set of statistics, Berlin has lost the Berliner Kammeroper, and Wien has lost the Wiener Kammeroper and the Musik Theater Schönbrunn. As the Wien companies were significant ones in terms of numbers of performances, Berlin overtakes Wien to be the city with most opera.

Of the top 100 most operatic cities,

  • 45 are in Germany
  • 7 in Austria
  • 6 each in Switzerland and Italy
  • 4 in Poland
  • 3 in the US, and in Russia
  • 2 in the Czech Republic, in Spain, in the UK and in Australia

1it (#1)Verdi2275 (28 Óperur)
2at (#1)Mozart1833 (24 Óperur)
3it (#2)Puccini1830 (12 Óperur)
4de (#1)Wagner,R920 (18 Óperur)
5it (#3)Rossini838 (40 Óperur)
6it (#4)Donizetti793 (31 Óperur)
7fr (#1)Bizet512 (5 Óperur)
8de (#2)Strauss,R509 (14 Óperur)
9uk (#1)Handel468 (53 Óperur)
10fr (#2)Offenbach348 (30 Óperur)
11ru (#1)Tchaikovsky345 (7 Óperur)
12at (#2)Strauss,J316 (11 Óperur)
13uk (#2)Britten275 (18 Óperur)
14de (#3)Humperdinck239 (2 Óperur)
15hu (#1)Lehár229 (12 Óperur)
16it (#5)Bellini221 (8 Óperur)
17fr (#3)Gounod211 (6 Óperur)
18cz (#1)Janáček202 (10 Óperur)
19fr (#4)Massenet187 (13 Óperur)
20it (#6)Leoncavallo186 (6 Óperur)
Composer and opera tables are based on counts of performance runs over the five seasons from 2007/8 to 2011/12, ie how many times a work was programmed not the number of performances.
Works from nearly 1200 different composers were played over these five seasons.

After the first three (Verdi, Mozart, Puccini), who dominate the listings, there's a gap to the next three (Wagner, Rossini, Donizetti).

Good news for Benjamin Britten: at position 13, he is the highest ranked composer born in the 20th century even before the celebrations of the centenary of his birth in 2013.

Compared with our statistics from 2009/10, the order of the composers remains pretty much the same, but there have been big increases in the numbers of performances of works by the composers at the top of the table.  This is possibly due to some companies choosing safer programming due to the global financial situation.  There were big increases for composers with approaching centenaries: Verdi 3020 performances (up from 2259 in 2009/10), Wagner (1292 up from 920).

Núlifandi tónskáldTop
1us (#1)Glass55 (17 Óperur)
2us (#2)Adams26 (5 Óperur)
3us (#3)Heggie25 (5 Óperur)
4de (#1)Rihm24 (8 Óperur)
5fr (#1)Dusapin23 (6 Óperur)
6hu (#1)Eötvös22 (8 Óperur)
7uk (#1)Davies,PM21 (7 Óperur)
8us (#4)Floyd19 (5 Óperur)
9uk (#2)Birtwistle18 (7 Óperur)
10uk (#3)Dove18 (8 Óperur)
The two leading living composers are both long established — Henze (b.1926), Glass (b.1937) both have a large body of work being performed and both are continuing to create new works.

Perhaps the most surprising — yet most welcome — single item of data to come out of these statistics is the proportion of the opera composers who are living.  Of the near 1200 composers programmed over the last five seasons, over 640 are alive — not bad for an art-form that is sometimes thoughtlessly described as ready for the museum.

Kvenkyns tónskáldTop
1fi (#1)Saariaho16 (4 Óperur)
2uk (#1)Weir12 (5 Óperur)
3at (#1)Naske(3 Óperur)
4il (#1)Czernowin(2 Óperur)
5uk (#2)Portman(1 Óperur)
Finnish composer Kaija Saariaho is the most frequently programmed female composer, with her recent operas, L'amour de loin and Emilie being played across Europe and in the US.

1it (#1)Verdi (#1)La traviata (486)
2it (#2)Puccini (#1)La bohème (470)
3fr (#1)Bizet (#1)Carmen (450)
4at (#1)Mozart (#1)Die Zauberflöte (442)
5it (#3)Puccini (#2)Tosca (405)
6at (#2)Mozart (#2)Le nozze di Figaro (381)
7it (#4)Puccini (#3)Madama Butterfly (375)
8it (#5)Rossini (#1)Il barbiere di Siviglia (367)
9it (#6)Verdi (#2)Rigoletto (340)
10at (#3)Mozart (#3)Don Giovanni (320)
11at (#4)Mozart (#4)Così fan tutte (259)
12it (#7)Verdi (#3)Aida (244)
13it (#8)Donizetti (#1)L'elisir d'amore (240)
14de (#1)Humperdinck (#1)Hänsel und Gretel (234)
15at (#5)Strauss,J (#1)Die Fledermaus (222)
16it (#9)Puccini (#4)Turandot (217)
17ru (#1)Tchaikovsky (#1)Eugene Onegin (200)
18it (#10)Donizetti (#2)Lucia di Lammermoor (188)
19it (#11)Leoncavallo (#1)Pagliacci (179)
20it (#12)Verdi (#4)Nabucco (176)
21it (#13)Verdi (#5)Il trovatore (164)
22hu (#1)Lehár (#1)Die lustige Witwe (138)
23it (#14)Rossini (#2)La cenerentola (138)
24it (#15)Mascagni (#1)Cavalleria rusticana (136)
25it (#16)Verdi (#6)Un ballo in maschera (131)
Over the 5 seasons, 2007/08 to 2011/12, there were more than 104,000 performances of 2588 different works.

Compared with our previous statistics in 2009, the top 10 works remain the same with small changes in the order but with big increases in the numbers of times the works have been programmed.  The biggest change is Verdi's La traviata, which was second in the 2009 stats with 447 runs, and which now is the most commonly programmed opera with 629 runs over the 2007/08 to 2011/12 seasons.

Britten's Turn of the Screw (#73) overtakes Shostakovich's Lady Macbeth (#82) for the most frequently programmed opera from a composer born in the 20th century.

There are five works by living composers in the top 200 most frequently programmed works: Grigory Frid's monodrama The Diary of Anne Frank (#129), Weill's opera-ballet Die sieben Todsünden (#153), the opera Dead Man Walking from Jake Heggie (#174), Il prigionero from Luigi Dallapiccola (#182), and the children's opera El gato con botas from Xavier Montsalvatge (#193).

Operabase produces an annual New and Rare listing, highlighting about 600 of the more unusual titles in the season. It is available online, at http://operabase.com/rare