In a recent conversation with Matthew McConaughey, actor Timothée Chalamet made dismissive remarks about ballet and opera, asking rhetorically, “Who cares about ballet and opera?” and declaring that he wouldn’t want to work in any of these arts and worry about “keeping this thing alive.” He added that, while he knows he might be offending ballet and opera audiences, that would cost him only “15 cents in viewership.” Comments like these, whether made casually or provocatively, strike many as both uneducated and deeply disrespectful toward two of the world’s most enduring artistic traditions.
Ballet and opera are not niche curiosities clinging to life on the margins of culture. They are centuries-old art forms that have shaped the realms of music, theatrical performance, and visual aesthetics across the globe. Opera, combining vocal virtuosity, orchestral music, and drama, much of which is based on literature, has captivated audiences since the start of the 17th century. Throughout history, it has served as a locus of defiance against oppression, an inspiring refuge, and a rousing call to defend freedom and patriotism. Ballet, with its demanding physical discipline and expressive storytelling, has evolved from court entertainment into one of the most refined forms of theatrical dance. To dismiss them so casually is to overlook the vast cultural legacy and impact on humanity that they represent. Not to mention that Chalamet’s own mother trained in ballet.
Ironically, Chalamet’s own career has intersected with the world of classical music. In the acclaimed film Call Me by Your Name, he portrayed Elio, a musically gifted young man whose life is steeped in classical culture and piano performance. While the film is not about opera, its atmosphere is infused with reverence for classical music and artistic sensitivity. Portraying such a character might reasonably be expected to foster some appreciation for the classical arts or at least respect for the audiences and artists who dedicate their lives to them.
Behind every ballet performance or opera production stands an enormous network of people who devote their lives to these art forms. Dancers spend years, often beginning in childhood, training relentlessly to achieve the strength, precision, and artistry required to perform on stage. Opera singers undergo similarly rigorous preparation, mastering vocal technique, musicianship, languages, and acting.
Yet the artists themselves represent only a fraction of the community that sustains these traditions. Take opera: There are stage crews, orchestra members, chorus members, supernumeraries, costume makers, répétiteurs, choreographers, administrators, teachers, vocal coaches, agents, publicists, and the countless staff members who keep opera houses functioning, often working long hours for modest pay because of their dedication to the art. Surrounding them are summer programs, young-artist initiatives, conservatories, vocal studios, and workshops where the next generation learns its craft.
Equally important is the audience: a global public that continues to seek out these experiences. For many, an evening at the opera or ballet is not just entertainment but a transformative encounter with beauty, storytelling, and human expression. The idea that this community amounts to “15 cents of viewership” trivializes millions of passionate supporters around the world.
Even actors who have encountered opera have spoken about its impact. When Angelina Jolie portrayed the legendary soprano Maria Callas in Maria, she stated that she emerged from the experience with a deeper respect for the discipline and emotional power of opera. Encounters like these often remind artists from other fields just how demanding and profound the operatic tradition can be.
It is true that some opera companies face financial and institutional challenges. But the struggles of certain institutions should not be mistaken for the decline of the art form itself. When companies falter, the causes are often managerial decisions—poor programming choices, misguided casting, or ineffective leadership—rather than a lack of artistic vitality. Opera and ballet have endured wars, economic crises, and sweeping cultural shifts over centuries. Their survival has never depended on the approval of a single celebrity.
As living proof that these traditions remain vibrant, major institutions around the world, such as Metropolitan Opera, Vienna State Opera, and Bavarian State Opera, have reacted publicly to Chalamet’s remarks, even graciously inviting him to attend an opera performance.
Since Chalamet is a highly visible figure with considerable influence among younger audiences, his remarks carry weight. When prominent figures dismiss the classical arts as irrelevant, they risk discouraging young people from exploring artistic worlds that might otherwise inspire them. Many people first discover opera or ballet through curiosity sparked by a teacher, a relative, a friend, or a public figure who speaks about them with enthusiasm rather than disdain.
At the same time, the controversy surrounding these remarks may have an unintended positive outcome: expanded attention to the art forms themselves. Public debate can encourage people who have never attended a performance to see for themselves what opera and ballet offer. One evening at the opera has the power to change a life, opening emotional and imaginative possibilities that remain long after the curtain falls. It has certainly changed my life, and I am just one of an infinite number of people who have been transformed and enriched by this art form.
For those who love these art forms, the hope is not merely for a public apology from Chalamet, but for a broader recognition of their value. Ballet and opera are not relics struggling to survive; they are living expressions of human creativity, discipline, and emotional depth. As long as people seek beauty, storytelling, and artistic excellence, these art forms will endure, long after fleeting controversies have faded.
Top Bigstock photo by Igor Bulgarin
