![]() It includes data from the opening of the Oscarian opera house in Stockholm in 1898 until 2019. Workers’ wages are compared to clerks’ salaries and with ticket prices. If opera demand increases in the near future, this will possibly be based on the growth of income for population segments that already constitute opera audiences. It is much less likely that the growth of workers’ incomes during the twentieth century has led to a similar increase in working class demand for opera as it did for the bourgeoisie during the period studied. The choice of high-level ticket prices for the traditional content means that the standard audience remains monocultural. ![]() The idea is that attending such performances will make visitors interested in the normal repertoire, as well. They now focus on the promotion of special, ‘popular music’-based events as a response to social inclusion directives. However, they do it uniformly for all events. Managements do use some price discrimination tactics. The study shows that ticket price levels have risen thereafter to a level much less favourable for low-income workers. The most favourable ticket pricing policies for buyers were used in the decades around the first national Cultural Policy Act from 1974. The same kind of policy objectives concerning social inclusion of disadvantaged groups that were established in the beginning of the twentieth century is still proclaimed. ![]() Both wages and ticket prices have increased continuously. In this study ticket prices to Swedish opera houses and symphony orchestra concerts are compared to wages during the 1898–2019 period.
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