Introduction The global research of performing arts is often focused on Western culture, especially in the fields of opera, orchestral music, and theatre. However, many cultures have a long and deep history of great creators and actors who developed unique art styles fused with their traditions. In China, the history of opera and theatre is not an exception, and Chinese composers and playwrights can present a variety of styles to modern audiences. However, most grand performances require an adequately refined place – and the Jiangsu Grand Theatre, located In Nanjing, the capital of Jiangsu Province, China, is one of them. This essay considers the contemporary state of arts provision in China and the place the Jiangsu Grand Theatre plays in it. Arts Provision in China Worldwide, the place of performing arts continues to change with the new generations and the development of technology. Young people are invested in digital entertainment, and their interest in visiting a theatre or an opera is not as ubiquitous as it may have been decades ago (Jiang, 2019). This, in turn, affects the place of arts in one’s everyday life, especially leisure. In China, however, such spheres and opera and classical music, seem to be thriving. According to Nan (2019), the country’s government pays great attention to developing the performing arts, including financial support for building new venues and musical education. The author considers China a leader in moving the industry forward and a business-savvy professional who looks to the West only to take ideas and improve upon them. The history of classical music in China can be reviewed from several angles. On the one hand, the country has always had folk music and a variety of performance styles that ware available and loved by the public. One the other hand, the introduction of Western classical music and other foreign genres happened rather recently, some stating that only 40 years ago China was not as open to these performances as it is today (Mellor, 2019). Here, one has to consider the political relations between countries and their exchange of culture as a part of an “opening-up” policy. Now, the integration of traditional Chinese and Western arts creates a diverse culture on the Chinese scene and gives the audiences an opportunity to discover global history. Furthermore, the attraction of young audiences to Chinese concert halls seems to be a smaller issue than it is in the Western part of the world. While not all teenagers and young adults are invested in orchestral music and opera, some are introduced to classical music from childhood and are encouraged to participate both as listeners and performers. For example, Mellor (2019) cites young musicians for whom classical music is rather new, implying western composers such as Beethoven or Mozart. Nonetheless, they have a deep appreciation of these artists and are interested in creating connections between the two cultures through music. This drive from Chinese musicians has the potential to connect younger audiences to classical music in the country, improving the local engagement. Another point of interest for younger visitors is the area of traditional performing arts, highly developed and unique to the country. For instance, while opera is usually associated with Italian and German composers, many performances in China have