"Politics ain't beanbag."
Opera and Ballet are Still Relevant
I don’t know much about Timothée Chalamet. He’s 31 and holds dual French and U.S. citizenship. He’s very busy and has appeared in a number of successful films, of which only one registered with me, Dune. He has four Academy Award nominations to his credit, including one this current Oscar season for his role in a movie about ping pong. He may be best known for his three-year relationship with the youngest Kardashian, Kylie Jenner.
Earlier this month, Chalamet drew my attention with the following comment, "I don't want to be working in ballet or opera, or, you know, things where it's like, 'Hey, keep this thing alive, even though it's like, no one cares about this anymore.'" My negative reaction to this totally asinine statement could have been from the infantile use of “you know” and “like” (twice) in the same sentence. If you cannot speak English, best shut up.
However, my sensibilities were most hurt by his apparent lack of any understanding or empathy for cultural art forms that have entertained, educated, and employed millions for centuries. It made me wonder if he has ever seen either in person. My father grew up in Vienna, Austria, where, as a teen, he watched composer Richard Strauss conduct one of his works at the State Opera House. It was a highlight of his life.
I served on the board of the Canadian Opera Company for nine years, during which we built a combined opera and ballet house and staged the first Wagner Ring Cycle in Canadian history. The house was built from the inside out with acoustics as the primary architectural feature. It has a sprung floor to aid ballet dancers. The Canadian Opera and the National Ballet are both world-class and are well-supported by the Canadian public and provincial and federal governments.
The difficulties of American arts organizations are well-documented, especially the current issues facing New York’s Metropolitan Opera. Unlike European countries, where government subsidy is universal and supported by the public, the United States government makes little or no cultural commitment. Vienna and Berlin both have three opera houses, which are typically sold out.
Opera and ballet feature strongly in our appreciation of the performing arts. Classical composers such as Beethoven and Mozart also wrote operas, and the music of Tchaikovsky, Prokofiev, and Stravinsky is fundamental to ballet. I don’t believe that I am a minority when I say that certain arias give me goosebumps. Solos and duets from works such as Bizet’s Norma and Carmen; Puccini’s Madama Butterfly, La Boheme, Turandot, and Tosca; Verdi’s Rigoletto and La Traviata; Mozart’s Don Giovanni and The Magic Flute; Wagner’s Ring and Lohengrin; and so many more. The lyrical beauty of ballets such as Swan Lake, Romeo and Juliet, The Rite of Spring, Giselle, and La Sylphide have enchanted me and remain truly timeless.
Is my position elitist? I don’t believe so, because standing-room audiences throughout Europe, over 100 professional opera companies in the United States, and over 175 ballet companies worldwide suggest that at least a few people still “care.” Perhaps Monsieur Chalamet might do well to remember that before him came Anna Pavlova, Joan Sutherland, Rudolf Nureyev, Maria Callas, Mikhail Baryshnikov, Luciano Pavarotti, Margot Fonteyn, and Enrico Caruso. If I’m allowed to be slightly snarky, Timothée, please wipe that smirk and smudge off your upper lip. It makes you look twelve - or maybe that is the idea. Life is truly better with art. Even yours.
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