Opera is a living, breathing art form that has slowly begun to die.  This once grand, celebrated art form is now being pushed aside.  With major companies declaring bankruptcy at an alarming rate, it is easy to lose faith.  But, why is this happening? Why are so many people choosing not to attend or support opera? While there are many parts to this answer, I believe that one of the major choke holds on the growth of opera is the lock out of most modern composers.  It is almost comical how predictable most season announcements are, as though we are constantly forced to listen to the same play list on constant repeat. It is almost as if La Bohème and Le Nozze di Figaro will never be taken off the list even though they are over 100 years old and, frankly, outdated.  The stories and the music are charming, beautiful, and tragic, but they have little to no social relevance to us.  No matter how you stage, costume, or reinvent, the story and music is all the same. 

Yes, one can argue that the Met and other opera houses are trying to incorporate more modern, even living, composers’ works into their seasons. There are even smaller opera companies singularly devoted to the performing of contemporary opera. But is it enough? The Met usually schedules one American opera per season, seemingly hidden amongst the Italian and German opera legends. How is American music supposed to grow when it is being stifled by European traditionalism? While I am sure the board of the Met thinks that they are being innovative with their choice of a modern staging of Un Ballo in Maschera, there is nothing new to be seen.  Sure, the characters might be dressed strangely, walk awkwardly, or interact in a vulgar manner, but that does not make an opera relevant.

American opera has not had an easy road.  Since the beginning, there has been some resistance to our music.  While Carlisle Floyd and Douglas Moore were easily digested by a traditionalist ear, composers such as Philip Glass, John Adams, and Meredith Monk had to work to get their rather untraditional works seen.  In fact, Glass’ Einstein on the Beach was not premiered in his home country, but in France.  His most recent opera The Perfect American was also premiered abroad in Madrid. While all of his works have been performed here eventually, it is slightly disconcerting that he had to take his productions outside of America to have them performed.

John Adams has arguably had an easier time getting his operas done in America and has been mostly received very well. However, the Met’s announcement of The Death of Klinghoffer was not welcomed by many opera goers. This opera touches on a subject that was relevant when it was written and has only become more relevant as time marches forward.  Klinghoffer, though not exclusively, touches on the tensions between the Muslim and Jewish people of the Middle East. The subject manner caused many people to be uncomfortable as they claimed the work stereotyped the Muslim and Jewish communities. The opera almost did not make it to the stage because of the public outcry, but was ultimately performed.  This is what opera should do.  Opera should excite the people, push boundaries, and talk about the issues we face in the modern age.  So why aren’t American operas being performed? What about all of the works in progress, the composition students in conservatory, or American opera composers looking to have their works performed? Do they have hope at all in this industry? I say yes, but only if the people in charge of these companies see the value of the modern American perspective.  There is a place for traditional opera, but why shouldn’t we celebrate the musical voice of our country?

Kristin Hagen