Jonas Kaufmann, the renowned tenor, has decided to stop performing at London’s Royal Opera House. His reason? The pay just isn’t enough. He shared his feelings on BBC Radio 3, expressing disbelief at how singers manage under such conditions. He also mentioned he won’t sing at the Metropolitan Opera anymore, citing deeper ideological rifts. For someone of Kaufmann’s stature — arguably opera’s brightest star — stepping away from two of the world’s leading venues is a significant blow.
Kaufmann’s decision raises concerns about the future of opera. “I feel so sorry for the next generation,” he lamented. Many aspiring singers face doubts about whether the sacrifices they make are worth it. From handling vocal health to frequent travels and missed holidays, the risks are immense. In the past, reaching the top provided hope for stability; now, even those at the peak are uncertain.
Yuval Sharon, a respected stage director, noted that opera needs a rebirth to survive. Caitlin Vincent, a former soprano and the author of “Opera Wars,” emphasizes that the industry isn’t just struggling; it’s at a crossroads. Many companies rely heavily on donations, with ticket sales accounting for only 20-40% of their budgets. Most companies fall even shorter than that, highlighting a troubling trend in the opera world.
Vincent explores the conflicts within opera today. There’s a divide between traditionalists who resist change and progressives eager for modernization. One significant issue is how stereotypes in opera may deter modern audiences. There’s often pressure to represent cultures accurately, yet many artists feel pigeonholed by their backgrounds. For instance, roles like Madame Butterfly might restrict Asian performers to just that character, limiting their opportunities.
Moreover, the opera business’s model is outdated. It has remained largely unchanged since World War II, and as Vincent points out, most people in the industry are pushing for swift changes to keep up with current social dynamics. Some attempts at modernization, however, have faced criticism. For instance, a 2018 production of “Carmen” controversially switched the roles of the main characters, drawing both interest and frustration. While it sold tickets, many argue that such changes rarely resonate with audiences in the long run.
Interestingly, research from the Opera America organization reveals that 80-85% of first-time ticket buyers don’t return for another performance. So what drives this trend? It often comes down to the overall experience of attending an opera. Audiences are keen on engaging performances rather than behind-the-scenes squabbles over musical interpretation.
In aiming to attract new audiences, one must consider that the current artistic and cultural landscape has transformed. As George Shirley, the first African-American tenor to perform leading roles at the Metropolitan Opera, observed, music transcends ethnicity. He noted that operatic talent isn’t limited by background; it’s about connection and passion for the art form.
The challenges facing opera are not just about who sings what; they’re about staying culturally relevant. Many productions plan years in advance, causing them to miss the pulse of contemporary society. As a result, there is a growing disconnect between opera and potential new audiences.
Caitlin Vincent argues passionately in favor of new operas and their role in revitalizing the industry. Combining fresh pieces with traditional favorites may be a way forward. However, to truly engage audiences, opera must create an inviting experience. As Sharon notes, many feel lost in the opera house, unsure of the etiquette or what to expect. Drawing parallels with Broadway shows, it’s clear that opera has yet to break free from the stigma that surrounds it.
Despite the challenges, opera holds an extraordinary opportunity against the rise of AI and technology. There’s something uniquely powerful about live, unamplified voices that can resonate deeply with people. The industry must find effective ways to communicate this strength to a tech-savvy audience. That, too, is a battle worth fighting.
Gideon Dabi is a performing operatic baritone, private voice instructor, and writer based in New York.
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