The Opera Debate: A New Perspective
In a now widely discussed interview, actor Timothée Chalamet expressed his preference for working in creative fields that are valued by the public. He was not interested in an art form like opera, which he described as “where it’s like, ‘Hey, keep this thing alive, even though no one cares about this anymore’.” His comments sparked a significant backlash within the opera industry and some believe they may have affected his chances in the Best Actor Oscar race. What should we make of this controversy?
This is the kind of question that Melbourne-based opera expert Caitlin Vincent explores in her new book, Opera Wars. In this work, she aims to provide insights into the ongoing debates surrounding the future of opera. While the book is intended for both those who are curious about opera and those who are already fans, it goes beyond being a simple introduction. Vincent herself questions the continued relevance of this once-respected European art form.
The book’s central narrative revolves around examining these doubts. It focuses on two main areas of concern. One is the challenges faced by individuals pursuing a career in opera today. Her detailed discussion on these issues makes for some of the most informative parts of the book. The other area is more philosophical, asking what opera is good for and what its meaning and value should be in the modern world.
The Opera Industry: A Fractured Landscape
Vincent draws from her extensive experience in the industry, having trained as a singer, worked as an opera producer, and recently as a librettist. She argues that opera production has never been as challenging as it is today. Differing opinions on how opera should be staged, she suggests, are where the “trouble really begins.”
These differing views can be summarized using two German terms:
- Regietheater (director’s theatre) – suggesting that opera should be adapted and reinterpreted.
- Werktreue (true to the work) – emphasizing the importance of preserving the original intent and style.
This distinction highlights the debate over whether an opera should be a faithful recreation or a new artistic interpretation. Vincent’s writing style is lively and engaging, but at times, her literary flair leads to more controversial claims. For example, she argues that the Werktreue camp is not just defending traditional staging but also more insidious practices.
Opera and Race: A Complex History
Vincent raises important questions about race and representation in opera. She quotes librettist Mark Campbell, who asks why certain racist or sexist stories are still being preserved. Opera has long featured exotic settings, which has led to concerns about cultural appropriation and misrepresentation.
For instance, Vincent points out that Puccini’s Turandot, set in ancient China, relied on a Chinese music box and a book by a Belgian customs officer. This, she argues, did not result in a well-rounded portrayal. However, she overlooks the fact that Puccini may have drawn inspiration from a German poet, Schiller, who himself sourced the story from a Persian poem by Nizami Ganjavi. In that version, the princess is Russian, not Chinese.
This highlights the complexity of cultural authenticity in opera. Vincent’s discussion of race fails to clearly distinguish between outright racist practices like blackface and yellowface and the broader use of stage makeup to represent non-white characters. While she later acknowledges that “maybe makeup’s just makeup,” she misses an opportunity to provide a more nuanced historical context.
Opera as a Profession: Challenges and Realities
Vincent is more compelling when discussing the practical aspects of an operatic career. Many readers may find this unfamiliar. For example, she explains the technical processes involved in bringing an opera from score to stage. She also delves into the financial realities of becoming a successful opera singer, noting that the total cost can reach around $1 million. She rightly questions where this money goes and, more importantly, where it comes from.
Today, many singers come from wealthy backgrounds, as the path to success often starts with financial privilege. Opera singers are typically paid per performance, not for rehearsals, and there is no sick pay. These industry norms are ripe for change.
However, the worst issue for many singers is harassment, including sexual abuse. High-profile cases involving figures like James Levine, the late music director of the Metropolitan Opera, highlight the need for accountability. Vincent suggests that some in the industry justify abuse by claiming that genius is enough to excuse it. But she overlooks the role of institutional power, particularly the power men have had over younger women and men in the industry.
What (and Who) Is Opera For?
Vincent’s book reflects a deeper skepticism about the idea of greatness in art. Without considering why certain forms of art are valued, opera may seem like a wasteful obsession with outdated cultural objects. She also fails to explain why certain works, such as Mozart’s The Marriage of Figaro or Puccini’s La bohème, are considered masterpieces.
Her claim that the operatic canon has dominated stages since the early 20th century is historically inaccurate. A look at programming from major opera houses between 1900 and 1930 shows that many performances were new works. The decline in new operas was due to economic factors, such as the Great Depression and the rise of film, rather than artistic conservatism.
Vincent underestimates the role of independent companies in producing new operas without state support. For example, the Australian Contemporary Opera Company recently premiered Emma O’Halloran’s Grammy-nominated double-bill Mary Motorhead & Trade in Melbourne.
Price vs Value: Opera’s Real Battle?
Despite these challenges, Vincent concludes that opera companies are gripped by fear of change. She quotes Beth Morrison, who notes that while there are plenty of people wanting to perform and produce operas, there is a shortage of funding. This economic issue may point to a deeper truth: in a society that prioritizes price over value, opera’s survival depends on how it adapts to a changing world.
Peter Tregear, co-founder of IOpera and a member of the Peer Review Panel for Victorian Opera, offers further insight into these challenges.
