上海大歌剧院总经理张笑丁指出，随着“悦己消费”和“体验式消费”兴起，年轻观众倾向于为个人兴趣和社交需求付费，例如连续购买同一部音乐剧多场门票。1 数据显示，音乐剧《悲惨世界》今年在上海演出64场，有观众购买了43场票。1
上海社会科学应用经济研究所研究员曹祎遐补充说，消费者偏好复合型体验，如观剧前后在周边公园休憩或遛狗。1 上海大歌剧院经过6年建设完工，于10月开幕启用，拥有3个专业剧场，座位数分别为1000、1200、2000个。1
设计单位挪威Snøhetta建筑事务所中国区负责人龚成表示，通过建筑设计与功能定位，旨在将歌剧院融入市民休闲生活。1 龚成强调，观众培养需要时间，特别是古典艺术领域。1
A shift toward self-oriented and experiential spending is reshaping consumer behavior in Shanghai, particularly among younger demographics. Zhang Xiaoding, General Manager of the Shanghai Grand Opera House, observed that young audiences are increasingly willing to pay for personal interests and social interaction, exemplified by the trend of purchasing multiple tickets for the same musical production 1. This phenomenon was notably visible with the musical Les Misérables, which staged 64 performances in Shanghai this year; one dedicated fan purchased tickets for as many as 43 shows 1.
Beyond ticket purchases, consumers are seeking composite experiences that blend cultural activities with daily leisure. Cao Yixia, a researcher at the Shanghai Academy of Social Sciences, noted that attendees prefer integrated routines, such as resting in nearby parks or walking dogs before and after watching a show 1. To accommodate these evolving habits, the newly opened Shanghai Grand Opera House was designed to seamlessly integrate into citizens' recreational lives. The facility, completed after six years of construction and inaugurated in October, features three professional theaters with seating capacities of 1,000, 1,200, and 2,000 respectively 1. Gong Cheng, head of the China region for Norwegian architecture firm Snøhetta, which designed the venue, emphasized that cultivating public interest in classical arts is a gradual process that requires time and functional integration with urban leisure spaces 1.
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