During a recent town hall at the University of Texas at Austin, actor Timothée Chalamet sparked controversy by suggesting that opera and ballet are no longer relevant art forms. Speaking with Matthew McConaughey at a Variety and CNN event, Chalamet expressed reluctance to work in these fields, saying,
“I don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive, even though, like, no one cares about this anymore.’ All respect to all the ballet and opera people out there.”
The American–French actor then joked about losing viewers, admitting,
“I just lost 14 cents in viewership. I just took shots for no reason.”
His comments also included mimicking an opera singer, which added fuel to the debate.
Strong Reactions from Philadelphia’s Ballet and Opera Communities
Chalamet’s remarks quickly drew responses from Philadelphia, a city where opera and ballet remain popular. Christine Cox, artistic and executive director of BalletX, expressed shock at the comments. She said,
“I am a huge Timothée Chalamet fan, and I was shocked,”
adding,
“It was so dismissive and hurtful of entire industries. I see generations of people coming to this art form. We shouldn’t be putting each other down, we should be lifting each other up.”
Cox also highlighted BalletX’s successful spring performances, noting that seven shows this month are nearly sold out.
Shelly Power, CEO of the Philadelphia Ballet, also disputed Chalamet’s views. She stated,
“Mr. Chalamet is obviously living outside the majority of the ballet world and out of touch. If his comments were true, why are our ticket sales and attendance numbers hitting all-time highs? We saw 10,000 more patrons from 2024 to 2025 in The Nutcracker alone.”
The company recently premiered The Merry Widow and has returned to pre-pandemic subscriber levels, according to Power.
Opera Philadelphia’s Perspective on Audience Interest
The general director and president of Opera Philadelphia, Anthony Roth Costanzo, shared his disagreement with Chalamet’s claim that opera no longer matters. Costanzo said,
“In terms of whether I agree that no one cares about it, no, obviously I don’t agree with that as someone who cares about it a lot.”
He emphasized that his focus remains on making both opera and film more engaging for audiences. Reflecting on Chalamet’s remarks, Costanzo added,
“Timothée was talking about making film as relevant as it can be, and in that context, he said that he didn’t want to work in something that wasn’t relevant, to try and make it more relevant, and that’s what I’m doing. So in a way I feel allied. He’s just saying that he doesn’t want to do it in a medium that’s more difficult, so I guess he’s a little bit more of a wimp than I am.”
Background and Predictions on Chalamet’s Views
Cox found Chalamet’s statements especially unexpected considering his background. His mother, Nicole Flender, was a Broadway dancer, and Chalamet himself attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City. She confidently predicted,
“I bet you he’s going to be at a ballet soon, because he’s going to have to fix this.”
As for his opera singer impersonation during the event, Costanzo offered an invitation, saying,
“I invite him to star in an opera whenever he wants. Because after he said that, I saw some contrition as he tried to then sing an operatic note. And I thought, ‘Okay, there’s some promise there.’ So if he wants voice lessons, I’m available.”
The Ongoing Debate on Relevance of Opera and Ballet
Chalamet’s remarks have ignited a wider conversation about the place of traditional performing arts in modern culture. While some see his comments as dismissive, others view them as a challenge to find new ways to connect with audiences. Philadelphia’s vibrant opera and ballet scenes continue to demonstrate strong support through ticket sales and enthusiastic patronage. The responses from influential figures like Cox, Power, and Costanzo underscore the resilience and passion within these communities as they navigate evolving cultural landscapes. What follows may be further efforts to bridge generational gaps and reinvigorate interest in these art forms, keeping them alive for future audiences.
