I conduct short fieldworks at La Scala (Milan), Paris Opera and the Met (New York), queuing for tickets, conversing with fans and taking field notes during performances, entr’actes and autograph hunting. These activities are the loci of intense fan socialisation. These opera houses have been chosen because they meet several criteria: a substantial group of local fans, a recognised centrality in the patterns of mobilities of opera lovers from other cities/countries, a long and abudant opera season, a major engagement in streaming and social media. The balance of these common points, however, is different. While La Scala boasts a ‘legendary’ group of fans (the loggionisti, who sit in the uppermost gallery, the loggione), the Met owns an appreciated streaming platform for watching operas and has a unique tradition in opera broadcasting (from the Met Live in HD to the Nightly Opera Streams developed during the pandemic). The Paris Opera manages two opera houses for different repertoires (most operas are performed at the Opera Bastille, but the Palais Garnier hosts baroque and classical operas) plus a video platform.