With its soul-wrenching, otherworldly, and at times haunting melodies, paired with its heartbreaking tragedies and timeless romances, opera is an art form like no other that has entranced audiences for over 400 years. However, despite having endured through the rise and fall of empires, crippling wars, and technological revolutions, it seems to some that opera itself may be reaching its final curtain, with a devastating death to conclude. Countless opera houses around the world are cancelling performances, lowering salaries, and scaling-back production as a whole, leading many to believe that the art form is failing to adapt to modern day, a stark contrast to the opera’s previous ability to transcend across generations.
The art form first came into fruition in the late sixteenth century, with the very first opera being “Dafne”, a musical retelling of a story from Greek mythology, centered around a romance between the god Apollo and a nymph. From the 16th century onward, opera gained immense recognition, in Europe first, and then throughout the rest of the world, undergoing various developments as time went on. Composers such as Mozart, Richard Wagner, Giacomo Puccini, and Giuseppe Verdi, among countless others, altered the way in which operatic music is arranged and performed, with some focusing on simpler harmonic structures that allowed for greater vocal brilliance, while others explored darker, psychological themes accented by a more prominent orchestral presence.
However, despite the unique artistry and mastery of opera, it seems that operatic music is lacking relevance in today’s world. Younger generations are uninterested, current audiences are aging, and the financial burdens of opera houses are only growing heavier. Within the first month of 2026, the world-renowned Metropolitan Opera house in New York City, the largest performing arts company in the United States, was forced to lay-off 22 administrative employees, reduce salaries from anywhere to 4 to 15 percent, and decrease this season’s productions from 18 to 17, a sharp contrast to pre-Covid seasons that consisted of 25 operas. Not only this, but the company is also considering selling two murals, The Triumph of Music and The Sources of Music, both of which have been displayed on the Grand Tier of the opera house since 1966, having been painted specifically for the Met by critically acclaimed artist Marc Chagall. During these dismal times, the Met Opera’s general manager, Peter Gelb, has insisted that these are necessary strategies to be ‘entrepreneurial’ and establish a ‘new business model’, both of which he claims are non-negotiables if opera is going to survive.
However, even as these various alterations indicate to some that Opera is only a few breaths away from death, performing arts institutions continue to fight for life, with many believing modernization to be the cure to irrelevance. The Metropolitan has incorporated modernized interpretations into their repertoire, as one of their most successful operas, “Carmen”, which was originally set in early 19th century Spain, now takes place in a rather dirty and grimy industrialized American town. Similarly, Verdi’s “Rigoletto” has been transported from 16th century Italy to Las Vegas in the 1950s. While some view these interpretations as a loss of artistry, others insist that modernization is the only way that opera can evolve and in turn, survive. Conversely, traditionalists hold steady in their belief that it’s ludicrous to premier new, undignified pieces that focus more on appealing to critics and shock value than connecting with the audience on a personal level, an essential aspect of all operatic masterpieces. Moreover, those against modernization like to bring attention to the fact that performing arts companies often neglect lesser-known classical works, such as those by Massenet, that are just as beautiful and well-done as operas composed by Verdi or Puccini. They believe that by reviving these forgotten pieces and executing them with care, opera houses will once again have every seat filled with audiences who are eager to experience the mastery of these timeless stories. In addition to this, some believe that to alter an opera’s production in such major ways as various institutions have done, is to violate the artistic integrity and intentions of the composers.
In contrast, modernists argue that opera has always been an evolving art form that pushes the boundaries of music with every performance. “Salome” by Richard Strauss was banned upon its premier for its scandalous nature while Verdi’s “La Traviata” shocked Victorian audiences for the same reasons. Many believe that modern composers should be given the opportunity to do the same, as doing otherwise would muzzle a living, breathing art form.
In regards to the question of respecting a composer’s original work, modernists bring attention to the fact that operas have been altered without the consent of the composers, for generations. For instance, following the Second World War, a group of singers began to make recordings of pieces composed by Shubert. However, rather than staying true to his rather simplistic style, they took a new approach to the songs, singing them in a way that highlighted the emotional turmoil of the characters. Presently, this interpretation is often what is expected by audiences and many are under the impression that this darkly psychological style of performance was originated by Shubert, which is untrue. In this instance, taking creative liberty over another artist’s work allowed for the piece to develop into something spectacular. The question is, is it possible for modern day opera houses to do the same?
The consensus reached by the majority of the opera community is that both traditionalism and modernism are necessary if opera is going to endure. Traditionalism ensures the artform remains connected to its classical roots, while modernism keeps opera breathing. Opera is an immersive and deeply personal experience that, despite it often being grounded in reality, possesses an almost ethereal quality achieved through its transcending, emotive arias that carry a person beyond that reality. It is in this beauty and distinctness that love for opera is born. And, above all, it is this love that will keep opera alive.
