The Metropolitan Opera Guild May Be Dead, but the Arts Are Not

The recent closure of the Metropolitan Opera Guild triggered comments on social media lamenting the death of the arts. This is without a doubt a sad development for opera in America. However, it is crucial to recognize that while appreciation for traditional Eurocentric views of art may be fading, art itself is far from dead in the United States. What we are witnessing is a transition towards a more inclusive, multicultural perspective that values the diverse array of artistic expressions that flourish within this country’s borders.

One of the many posts about the Guild’s closure was by a professional operatic tenor who pointedly highlighted a sentiment that opera and high culture are declining due to a perceived disdain for intellectual elitism. That may in part be true. However, this claim ignores the rich tapestry of non-Eurocentric culture and artistic forms that coexist within the United States. Encyclopedia Britannica says that culture “includes language, ideas, beliefs, customs, codes, institutions, tools, techniques, works of art, rituals, and ceremonies, among other elements.” In this country, we have over 350 languages that are spoken by our citizens, creating a diverse cultural landscape in poetry and literature. Ideas, beliefs, customs, and rituals can be found in over 100 religions practiced in this country, contributing to a large body of religious music. Works of art at Broadway theatres entertain 12 million audience members a year, millions of people visit over 7,000 art galleries and museums, and Spotify has more than 100 million tracks of music on its platform with 551 million listeners. Art and culture are not dead, in fact, the data would suggest this country has more culture than ever before. It just happens to be an eclectic mix representing the vibrant diversity of the nation and not a Eurocentric monopoly. 

While traditional Western European forms like opera are indeed expressions of “imagination and skill”, so are contemporary genres like hip-hop, rock, pop, and country. Artists such as Beyonce, Taylor Swift, Harry Styles, Childish Gambino, Kim Petras, and BTS are just as capable of conveying important ideas and emotions as any classical composer or opera singer. The distinction lies in the different cultural lenses through which these messages are filtered. Often times racist undertones still exist when deriding non-Western European music. The same operatic tenor mentioned before also blasted contemporary musicians like “those two uncouth women who represent the epitome of vulgarity, namely, CardiB and Lizzo.” Calling black artists “uncouth” harkens back to early racist writings about black singers. It is nearly the same language used in 1924 when Etude Magazine published “The Jazz Problem” and included quotes from prominent American musicians with the founder of the school we now know as Juilliard calling Black-American jazz “the self-expression of a primitive race.” If you follow the historical writings and debates in academic circles long enough, a pattern starts to emerge – Western European creations are art; non-Western European creations are not, and racism has long been a factor in this dichotomy. 

The assertion that Western European classical music is the pinnacle of musical art diminishes the value of other cultural expressions and ignores the preferences of the majority who overwhelmingly prefer hip-hop/rap, classic rock, and country. Those of us who attend opera are in the minority; to be exact we only account for 2% of Americans and 83% of us who are attending are white. When we say we must educate audiences to keep opera alive in the United States, what we are really saying is we must educate our multicultural schoolchildren to appreciate white cultural heritage. In the 21st century, with most education institutions rightfully placing an emphasis on diversity, equity, and inclusion, the concept of educating audiences about “good” art from a Eurocentric point of view warrants serious scrutiny and reconsideration. Encouraging people to appreciate opera while not requiring the same for other genres perpetuates a form of cultural dominance that’s no longer appropriate. In order to support DEI work, it is essential to respect the preferences and choices of audiences without imposing a particular cultural framework. That does not mean opera companies should stop doing educational outreach, but we must include those programs side-by-side with programs educating our children about the musical works of other cultures as well. Otherwise, our DEI talking points are meaningless.

This idea of teaching audiences to appreciate classical music is not new. It has existed since the 19th century when Theodore Thomas tried to educate Americans to appreciate “good music” and failed because “neither children nor what are called ‘wage-workers’ were sufficiently advanced intellectually to be able to appreciate the class of music which was his specialty” (Levine, p. 114-115). Louis Lombard, the director of Utica Conservatory of Music in 1892 said “The well-known fact that Europe has educated all our good musicians, native or alien, proves beyond question the superiority of its system of education. A reason frequently given for the lack of musical culture in America is that Americans possess less musical genius than Europeans….Girls and boys that have a good ear, heart, and mind abound around us, and they also have artistic temperaments. The main reason for their seeming inferiority is that they have been denied the advantages which others have enjoyed for centuries” (Lombard, p.349). To be clear, America did have its own musical culture at that time. It was created by black and white musicians living in this country. However, it was not European, therefore it was considered inferior. 

The closure of the Metropolitan Opera Guild is indicative of a broader shift in American culture. America is transitioning away from the Eurocentric view that held sway since the 19th century and with it, institutions that focus only on Eurocentric art are struggling. The demographic makeup of the nation has changed dramatically since 1935 when the Opera Guild was founded. At that time, the country was 96.8% white, which also meant that 96.8% had European ancestry. Classical music and opera were a part of the citizens’ cultural heritage and there was a valid argument for elevating that music. However, today 42% of the population identifies as non-white, and thus a new era of multicultural appreciation is dawning. Furthermore, many of today’s white citizens are several generations removed from their immigrant ancestors. European culture is less relevant today than it was in 1935 and audiences are responding accordingly.

Voices lamenting a supposed cultural decline often advocate for a return to traditional forms of education. However, the movement toward a balanced education that embraces diverse artistic expressions is already underway and there is no turning back. Initiatives like modern band classes in schools foster inclusivity and allow students of all backgrounds to engage with music. These classes not only diversify participation but also underscore the richness of human expression beyond classical traditions. The claim that the arts have been neglected is challenged by the thriving landscape of contemporary art and music. The internet and social media platforms have democratized artistic expression, with creators across genres connecting with millions of viewers and listeners. Consumers are responding with their pocketbooks spending over $15.9 billion on music. Pricewaterhouse Coopers projected that live concert attendance would generate $31 billion in ticket sales by 2022. Meanwhile, audiences spent around $326 million at the box office for opera before the pandemic. Art is not dead. Consumers are supporting the artists they connect with more than ever before.

The closure of the Metropolitan Opera Guild should not be seen as an omen of the demise of “the arts.” Instead, it signals a transition. The population of this country is shifting towards a more inclusive, multicultural appreciation of art that will admittedly have a negative impact on long-standing Eurocentric organizations. As society evolves and embraces diversity in all forms, it’s essential to recognize and value the myriad expressions of the human experience through art, regardless of the creator’s cultural origins. The arts are not dying; artists are evolving, thriving, and finding new ways to connect with audiences across the nation. Opera may be able to evolve as well, time will tell. I have no doubt it will always exist in some form. However, it will no longer be viewed as the pinnacle of artistic expression, but rather one of many forms that has created the beautiful cultural tapestry that is the United States of America.