The Debate Over Opera’s Future
In a now infamous interview, actor Timothée Chalamet expressed his preference for working in creative fields that are widely valued. 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 remarks sparked a significant backlash within the opera industry and some speculate they may have influenced his chances of winning this year’s Best Actor Oscar. But what should we make of all the controversy?
Melbourne-based opera expert Caitlin Vincent attempts to answer this question in her new book, Opera Wars. The book is aimed at both “opera curious” individuals and “opera lovers,” but it is more than just a basic guide to the art form. Vincent, who has extensive experience in the opera world as a trained singer, producer, and librettist, also raises serious doubts about the ongoing relevance of opera.
The book explores two main areas of concern: the challenges facing those pursuing a career in opera today and the philosophical questions about its purpose and value in modern society. Her discussion on the practical aspects of an operatic career is particularly insightful and informative. She highlights the financial and professional hurdles that many singers face, including the high cost of training and the lack of job security.
Opera and Its Challenges
Vincent draws on her own experiences in the industry to illustrate the current struggles of opera production. She points out that there are stark differences in how opera should be staged, with two opposing views often referred to as Regietheater (director’s theatre) and Werktreue (true to the work). These terms represent conflicting ideas about whether an opera should be a faithful reproduction of the original or a creative reinterpretation.
Vincent’s writing style is engaging and accessible, though sometimes her literary flair leads to more controversial claims. For instance, she argues that the Werktreue camp, which focuses on preserving traditional staging, is not just defending outdated aesthetics but also more insidious practices.
Opera and Race
One of the most contentious issues Vincent addresses is the representation of race in opera. She quotes librettist Mark Campbell, who questions why certain racist or sexist stories continue to be performed. Opera has long been fascinated with exotic settings, which has led to debates about cultural appropriation and misrepresentation.
For example, Vincent criticizes Puccini’s Turandot, set in ancient China, for relying on a Chinese music box and a book by a Belgian customs officer. However, she overlooks the fact that Puccini likely encountered the story through a German poet, Schiller, who had sourced it from a Persian epic. This historical context complicates the issue of cultural authenticity.
Vincent also 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,” the opportunity to provide a more nuanced historical perspective was missed.
Opera as a Profession
Vincent is more compelling when discussing the practical realities of an operatic career. She highlights the financial burden, noting that the total cost of building a career can reach around $1 million. She questions where this money goes and, more importantly, where it comes from. Many singers come from wealthy backgrounds, as the path to success often starts with access to resources.
She also discusses the industry norms, such as per-performance pay and the lack of sick pay, which are ripe for reconsideration. Incidents of harassment, including sexual harassment, have also been reported in the industry, involving prominent figures like James Levine, the former music director of the Metropolitan Opera.
Vincent suggests that some in the industry believe genius justifies abuse, but she is incorrect in this assessment. The real issue is institutional power, which often allows abusers to act with impunity.
What (and Who) Is Opera For?
Vincent’s book reflects a distrust of exploring what greatness in art might mean. She questions why certain forms of art are valued over others, arguing that opera appears to be a wasteful obsession with the past. However, she fails to engage deeply with the aesthetic dimension of opera.
Her discussion of the “canon” of operatic works—mostly composed by white European men—is also lacking. She notes that these works are considered masterpieces but provides no convincing reasons for this claim. Additionally, her assertion that the canon has dominated opera stages since the early 20th century is historically inaccurate.
Between 1900 and 1930, major opera houses regularly featured local or world premieres. The decline in new works can be attributed to economic factors like the Great Depression and the rise of film. New operas are now often produced by independent groups without state support, as seen in Melbourne with the Australian Contemporary Opera Company.
Price vs Value – Opera’s Real Battle?
Despite these developments, Australian opera companies tend to stick to the “top ten” works, leading to declining audiences. A recent ad campaign for Australian lamb highlighted the Sydney Opera House, but the response to the question “Do Australians enjoy opera?” was dismissive.
Vincent concludes that opera companies fear change, but she quotes Beth Morrison, who points to a more fundamental issue: the lack of funding. Australia is wealthier and larger than it was in 1954, yet opera still faces economic challenges.
Is opera’s greatest battle about avoiding cultural obsolescence, or is it about surviving in an economic system that values price over value? As the debate continues, the future of opera remains uncertain.
