The Metropolitan Opera has been making headlines lately, but unfortunately, it’s not for good reasons.
The iconic opera company, which is the oldest of its kind in the U.S., is trying to revive itself, though enthusiasm is scarce. This fall, they announced a $200 million deal with Saudi Arabia to serve as the winter troupe at a new Opera House set to open in 2028. It’s promising, especially since the Metropolitan Museum of Art has pulled $120 million from its endowment—over a third of its total—to cope with financial strains since the pandemic. However, the partnership has drawn sharp criticism due to Saudi Arabia’s controversial human rights track record.
Interestingly, the company’s struggles seemed to resonate with the audience’s excitement when they witnessed the recent performance of Bizet’s “Carmen.”
In the Met’s fresh take on “Carmen,” Aigul Akhmetina took the stage in denim cutoffs and cowboy boots instead of a traditional dress. This modern iteration shifts the story from 1820s Seville to contemporary America. Carmen is now an employee at a weapons manufacturer, with scenes reimagined to reflect current societal issues.
Despite ticket sales suggesting bright prospects, superstar tenor Jonas Kaufmann decided to step back from performing at the Met. His reasoning wasn’t financial; rather, it stemmed from grievances regarding how the choir and orchestra were treated during the pandemic. Musicians faced significant hardships, prompting Kaufmann to conduct a livestream concert to raise funds, which unfortunately fell short.
Just recently, the drama intensified when Peter Gelb, the general manager, revealed layoffs affecting about 10% of the administrative team, halting the production of new works for the upcoming season. Along with this, salaries of many executives earning over $150,000 were temporarily slashed, including Gelb’s hefty $1.4 million.
To add to the upheaval, the Met is even contemplating selling the naming rights to its theaters. They’re seeking buyers for two Chagall murals valued at $55 million but with conditions for their display.
Shockwaves rippled through the art community, though insiders at the Met suggested that many had seen it coming. There’s also lingering tension among various groups within the organization, particularly concerning safety and cultural representation issues.
The crux of the Met’s financial troubles rests partly on its reliance on ticket sales, which don’t cover even a third of their $330 million budget. Historically, a few wealthy families sustained the opera; however, newer generations seem less inclined to contribute.
Gelb made waves by canceling engagements with prominent artists, notably soprano Anna Netrebko, following her controversial ties to political events. The fallout from this decision stirred frustration among many at the Met, who felt it was a harsh stance.
Recent trends show that the donor base is aging, yet opera still draws younger crowds—an interesting contradiction. While Gelb attributes the Met’s challenges to post-pandemic conditions, many see these as prolonged issues exacerbated by external factors.
Behind the scenes, employees expressed concern over the fluctuating direction, critiquing Gelb as a micromanager who often gets bogged down in supporting creative teams that fail to deliver. The ambition of large-scale productions sometimes overshadows quality.
The blowback from the latest rendition of “Carmen” indicated deeper issues within the organization, as both audiences and staff recoiled from the outcome.
Ultimately, the sentiment among those within the Met appears clear: it’s about delivering quality art. People, regardless of political context, simply want something of value—old or new. The looming $200 million question of replenishing donor support remains unresolved, but if the Met continues to produce works that miss the mark, the implications could be far-reaching.
