Which performance art has its roots in the West, yet has blossomed in China over the past decade despite facing competition from domestic variants? The answer is Western opera. In 2011, 25 original Chinese Western-style operas were staged across the country. Despite this suggesting prosperity, however, the harsh reality is that audience numbers are steadily dwindling.

To revive its popularity with the public, the National Centre for the Performing Arts (NCPA) has hosted the World Theatre Forum since 2009. This year it was held from June 21 to 22. A total of 21 prestigious foreign art institutes and event organizers from 16 countries participated in the forum, including the Metropolitan Opera from the US, the Bavarian State Opera from Germany and the Edinburgh International Festival from the UK.

To many people, opera isn't their first choice for cultural consumption. Luo Xi, a 20-year-old college sophomore, told Metro Beijing that though she's "interested in opera," she wouldn't attend a production "unless I get free tickets."

"Many songs from operas are beautiful, yet they are difficult for me to understand. Also, their stories are usually far detached from my life. Language is another barrier," noted Luo. "The most famous operas are in German or Italian. For me, watching a Hollywood blockbuster seems a smarter option because at least I understand some English."

Luo's comments resonate among many Chinese who lack an in-depth understanding of Western opera, even if they are aesthetically attracted to it. Compared to many countries overseas, Western opera in China is still in its infancy, having only been introduced to the country in the 1920s.

Even though The White-Haired Girl (1945) and revolutionary opera Jiang Jie (1964) are regarded as influential, they struggle to compete with operas by Germany's Richard Wagner and Italy's Giuseppe Verdi in the curriculum at Chinese schools.

Chen Ping, president of the NCPA, said the venue recognizes the fate of Western opera in China hinges on its appeal to the public. "We are fully aware of how important the audience is. They are the key to the future of opera," said Chen. "Opera can't develop without an audience, just as fish can't live without water. In China, the current situation is that audiences lack an understanding of opera on the same level as those in Western countries."

Using the Internet to tap into a wider audience is one of the methods used by Rainer Karlitschek, scene director from the Bavarian State Opera. "We upload all our performances online. Each has been viewed by tens of thousands of Web users. It's an ideal way to boost publicity," he said. "I suggest we focus on young people since they don't learn much about opera at school. We must take the responsibility otherwise they might not be able to discover the beauty of opera."

Christina Scheppelmann, director of artistic operations at the Washington National Opera, pinpointed frequent interaction with audiences as being important. "We have had conversations with audiences after performances for five years. This makes them feel like participants in the opera. We can never let them feel we are far from them," she said.

Chen pointed out over the past four years, the NCPA has stepped up efforts to reach out to audiences. "Last year we launched more than 200 'opera interest development centers' in schools and communities across Beijing," said Chen. "Children and residents at the centers are taught how to critique opera. The pulse of opera is still strong, as is its charm."