Opera needs big money: opera chiefs need big donors. New York’s Metropolitan Opera has just lost a $200m investment, but should it have accepted it in the first place?
Opera’s stories of power aren’t only played out on stage. The mechanics of producing opera involve vast amounts of people, from set builders to wig-makers to chorus and orchestra, and even vaster amounts of money. An opera company needs huge reservoirs of cash: whether from governments, companies donating for tax benefits, or private individuals whose motivations may be entirely driven by sheer love of the form, or they might not. The Royal Opera House named a hall after the American investment banker Alberto Vilar who promised the company £10m, before being convicted and imprisoned for fraud in 2010, while the Sackler family’s millions sponsored swathes of culture across the US and UK – but the source of this wealth gave the world an opioid epidemic.
So pity the poor opera house manager, trying to deal with an essentially insoluble situation: choose your donors, choose your poison. And pity especially Peter Gelb, who has been running the Metropolitan Opera in New York, the world’s biggest opera house, for the past two decades. Gelb faces in extremis the same hard economic truth that all opera houses, classical music institutions and performing groups face. Unlike so many parts of the economy, the services they provide have not become – and cannot become – more efficient. It’s what is known as Baumol’s cost disease, a term coined by the economist William J Baumol in the 1960s. One of the examples he used to illustrate the “disease” was a string quartet. It took four players in 1800 – and still, today, takes four musicians. How stupidly inefficient! It’s the same story, only exponentially less efficient and more expensive, for putting on an opera. Wagner’s Tristan und Isolde, one of the Met’s recent blockbuster productions, still needs an army of stage managers as well as orchestral musicians, it still requires gigantic sets and a stellar cast just as it did in 1865, all to fill the Met’s 4,000-seat auditorium.
