It’s no exaggeration to say the UK arts sector is weathering a perfect storm. The past few years, characterised by funding cuts and increasing costs, have given rise to an ever more fragile landscape that can, at best, be described as challenging and, at worst, outright hostile for many of the UK’s arts organisations. 

The opera sector has often been at the centre of this turbulence – with a glaring spotlight focused squarely upon it and questions around sustainability, resilience and, fairly or not, its relevance. 

Arts Council England’s recent report on the opera sector – sparked in part by the response to its NPO decisions - posed a series of questions about the industry’s direction. For us, the most pertinent of these ask us to confront the make-up of opera’s narratives, creators and audiences.: Whose stories are being told? Who gets to tell them? And perhaps most urgently, who gets to access the transformative power of opera? 

At Streetwise Opera, these questions aren’t just theoretical – they’re at the heart of everything we do. For over two decades, we’ve been dedicated to creating spaces for marginalised voices. We work with people who have experienced homelessness in London, Nottingham and Manchester, co-creating operatic works that showcase their creativity and help amplify side-lined perspectives on some of the UK’s biggest stages, alongside world-renowned artists.  

We work in frontline homelessness settings – refuges, hostels, day centres – and on the streets with people rough sleeping. We also run weekly sessions in collaboration with leading arts organisations in each city. We curate unique spaces where distinguished names in opera and theatre work side-by-side with participants – or rather performers, as we refer to participants, to recognise their talents and abilities, and the fact that, when they are in a Streetwise Opera rehearsal room, that is what they are.   

Over the past two years alone we’ve co-created work with The Sixteen and BBC Concert Orchestra at venues such as the Royal Ballet and Opera, Bridgewater Hall, the Nottingham Playhouse and the Queen Elizabeth Hall, performing to over 10,000 audience members. Our work has been heard live on BBC Radio 3 and has been nominated for both a Royal Philharmonic Society Award and an International Opera Award for the projects we’ve created in 2023 and 2024, respectively. And, in a sector that, rightly or wrongly, is sometimes accused of being elitist, we think our performers are some of the best advocates for this artform’s importance and relevance – they love opera, because they see what it is at its heart: incredible stories told through soul-changing music.  

However, despite the success and relevance of our work, two months ago, we found ourselves at a financial cliff edge and launched the most important fundraising campaign in Streetwise Opera’s history. The aim: to raise £120,000 to ensure the survival of the company. For organisations like ours, which straddle the line between social impact and artistic excellence, the stakes couldn’t be higher.  

How do we ensure that opera remains not just a mirror to society, but a tool for its transformation? 

Historically, we’ve relied heavily on trusts and foundations, but with funding cuts elsewhere, competition for these grants has surged. Some trusts report application increases of up to 3000%, with success rates dropping below 10%. Meanwhile, our work doesn’t easily lend itself to earned income. Our productions take a year to develop, involving non-professional performers and engaging audiences who often don’t consider themselves opera-goers.  

This isn’t work that fits neatly into traditional funding models, and yet its value is undeniable. From award nominations to critical acclaim, our productions have demonstrated that excellence and inclusion aren’t mutually exclusive. In fact, they can be deeply interdependent.  

For the opera sector, this is also a critical moment. As we navigate a rapidly evolving cultural landscape, we must ask: what does the future of opera look like? Will it remain anchored in the same repertoire, or can it become a more inclusive art form – one that shares ownership with diverse creators, embraces new stories, and strives to reach and welcome new audiences? How do we ensure that opera remains not just a mirror to society, but a tool for its transformation? 

Harry Christophers, Artistic Director of The Sixteen and a long-time collaborator, describes our work as 'life-changing'. His sentiment is echoed by our newly announced team of patrons: Dame Sarah Connolly, Roderick Williams, Jennifer Johnston, Simon Callow, Paterson Joseph, and our long-standing supporter, Elizabeth Watts. Their backing reinforces a simple truth: opera can – and must – be for anyone. 

Our Emergency Campaign has revealed just how much people believe in this vision. The support we’ve received, from donations to messages of encouragement, has been deeply heartening. It’s a testament to the idea that opera can be more than a performance – it can be a platform for change. 

But we still have some way to go. While the campaign powers forward, we still need all the support we can get to ensure our future. And it raises some bigger questions: If we value this kind of work, how do we ensure it is sustainably funded? How do we move beyond short-term emergency measures to create lasting structures that allow socially impactful organisations like ours to thrive? And perhaps the most critical question of all: as the sector emerges from this challenging moment, what do we want opera to look like? 

The support we’ve received from the opera world, our audiences, and our partners gives us hope – hope that the future of opera lies in embracing diversity, innovation, and social impact. A vision of opera as inclusive and transformative, deeply rooted in the communities it serves. Opera that is both excellent and essential. 

Whether through a donation, sharing our message, or attending a performance, every act of support helps affirm this vision. It’s an opportunity for our sector to emerge from this moment stronger, more dynamic, and truly relevant. 

To learn more about the campaign and how you can get involved, visit streetwiseopera.org

Martin Constantine (Artistic Director) and Rachael Williams (CEO)