Negotiating Opera : Discursive Representations, Democratic Accessibility and Social Media Branding

This thesis examines opera as a discursive cultural and social phenomenon, constructed not only within theatrical spaces but also in production practices and public discussions that extend beyond a music-theatrical performance. Focusing on discussions of opera in the media landscape of the early 21st century as related to the democratization challenges around an art form traditionally understood as high and elitist, this approach brings novel perspectives to the relationship between opera and society. More specifically, negotiating opera encompasses the idea that opera is a discursive construct that is subject to continuous negotiations in which meanings and values are produced and reproduced. The aim of this thesis is to (i) identify and examine perceptions of opera in contemporary society and (ii) understand how these perceptions are formed and how they relate to wider cultural trends. This aim leads to two main research questions: “What kind of perceptions of opera as a cultural phenomenon are construed on public discussion arenas, such as newspapers and social media, and in official public communications of opera institutions, in Nordic welfare societies?”, and “How do digitalization and changes in cultural production, including the media landscape, influence the perceived meaning and value of opera in contemporary society?”. These processes are studied in three sub-studies: 1) Discursive media representations of Finnish National Opera during the management crisis of 2007–2009, 2) Accessibility to opera in the digital age among Swedish-speaking Finns, and 3) Branding of Nordic opera companies on Instagram. Theoretically, the study examines opera as a social construct in relation to taste and cultural hierarchies, digitalization and democratization, and commercialization and neoliberalism. Using discourse analysis as the main method, the study analyzes representations of opera in print as well as digital media and in operatic practices in the context of Nordic welfare societies of the 21st century. The first article shows that while the media discourses around the Finnish National Opera seem diverse, they actually restrict the debate to four perspectives – business, arts, elitism, and democracy. These discourses frame also broader discussions about the role of national cultural institutions in society. The second article shows that while digital technology has made opera more accessible in some respects, it has not fundamentally altered the perception of opera as an elite art form. Thus, opera remains a privilege rather than a democratically accessible right. The third article demonstrates that although social media platforms provide opportunities for opera companies to broaden their reach and appeal to new audiences, they also continue to uphold opera’s reputation as an exclusive art form. In conclusion, the study highlights the tension between opera as high culture and opera as accessible. It proposes that it is not the value judgment that is made accessible, but rather the idea of high culture. In light of this study, it can be argued that opera serves as a discursive stage where wider social debates are performed.

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