What to Do About Racism in Opera?

https://www.nytimes.com/2019/12/26/opinion/letters/opera-racism.html

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To the Editor:

Re “Classical Opera’s Racism Problem,” by Katherine Hu (Op-Ed, Dec. 23):

Congratulations on a thoughtful piece about racism in opera. However, by her admonition to treat “classic operas as historical artifacts instead of dynamic cultural productions,” Ms. Hu risks contributing to the continued ossifying of the genre.

Ms. Hu’s assertion that the path to securing opera’s future is “to view the opera house as both a museum and a classroom” worries me. People don’t go to operas to view historical artifacts through a glass case. They go to see living, breathing drama that has something to say about their own lives.

To confront the racism problem in opera — which undeniably exists — modern productions can use the outmoded stereotypes and prejudices in these pieces not only to shed light on the negative attitudes that existed when the opera was composed, but also to comment on ways these issues still manifest today.

For instance, Heartbeat Opera’s recent productions of “Der Freischütz” and “Fidelio” are set in contemporary America, and present provocative and timely statements on gun culture in the South and police brutality in cities, respectively.

Simon CohenNew York

To the Editor:

As a white operagoer, I find Katherine Hu’s suggestion that majority-white audiences “may be less aware of the offensive caricatures they’re seeing onstage” rather patronizing. We don’t need to replace one ethnic or racial stereotype with another one.

One would have to be very obtuse indeed to miss the racism and sexism implicit in Pinkerton and Cio-Cio San’s relationship in “Madama Butterfly.” I don’t believe that too many people form their opinions about other people from the “fantastical and fictional” characters depicted in operas.

Regarding racist attitudes, Rodgers and Hammerstein said it very well in “South Pacific”: “You’ve got to be carefully taught.”

Debra YooPortland, Me.

To the Editor:

As both an unabashed progressive and an opera fan, I found Katherine Hu’s opinion piece about “racism” in opera to be topical but without remedy. Mankind has evolved over the centuries to the point that what was inexplicably “acceptable” in its time is no longer. Puccini was a product of his times. It is his music, a glorious elixir for the soul, that brings us back time and again, not his social views, if indeed we even can assess them by the portrayal of Ping, Pang and Pong.

Yes, we should press all the arts to serve as a classroom and reflect from where we have come and where we are, but we should not change a thing about any of these masterpieces, irrespective of being cognizant of many of the artists not sharing today’s social views.

Lou MaioneNew York

To the Editor:

I do not think “racist,” “sexist” or “Orientalist” operas must be bowdlerized for the benefit of those who need to be politically correct. The plots of most operas are absurd, and the audiences know it. Since many operas were composed 150 years ago, they obviously reflect the prejudices of the era. So what? (“Carmen” scandalized the audience at its 1875 premiere.)

Operagoers are unlikely to walk out of the theater feeling newborn xenophobia based on grotesque characterizations. People go for the orchestral and vocal music, the emotion, the sets and costumes, to enjoy the suspension of disbelief.

Juliette MuscatSarasota, Fla.