The Art World Responds to Timothée Chalamet’s Comments
Timothée Chalamet’s recent remarks dismissing ballet and opera as art forms with dwindling audiences have sparked a fierce debate within the performing arts community. The actor, nominated for a BAFTA for his role in Marty Supreme, made the comments during a conversation with Matthew McConaughey at the University of Texas in February, as reported by the BBC.
Chalamet expressed a reluctance to perform in fields where maintaining the art form feels like a struggle against public disinterest. “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,’” he said, quickly adding, “All respect to all the ballet and opera people out there.” The comments quickly went viral, igniting a wave of responses from artists and organizations.
The reaction has been swift and varied. Canadian mezzo-soprano Deepa Johnny described Chalamet’s comments as a “disappointing accept,” even as Hollywood star Jamie Lee Curtis questioned on Instagram: “Why are any artists taking shots at any other artists?” Some, though, saw the controversy as an opportunity to promote their work. The incident highlights the ongoing conversation about the accessibility and relevance of classical art forms in contemporary culture.
Tenor Rickard Söderberg was enthusiastic about the widespread support on social media that Chalamet’s statement created, appearing on TV4’s “Efter 17,” stating, “He has gotten the entire opera and ballet world to come together in a way I haven’t seen… perhaps ever!”
Singers, dancers, orchestras and other artists have rallied on social media, responding with both humor and self-awareness. Zurich Opera House even posted a video of someone in a dinosaur costume drawing a mustache and devil horns on a picture of Chalamet—a nod to Rosalía’s “Berghain!” Seattle Opera is offering 14 percent off weekend tickets to Carmen, using the discount code “Thimothee.” Even Doja Cat initially weighed in, defending classical art forms before walking back her statement and admitting she’d never been to the theater.
As a frequent opera attendee (I actually own a t-shirt with Richard Wagner on it), I instinctively want to join the defense against anyone who dismisses opera as a dying art form.
But is Timothée Chalamet really wrong? Cultural school funding was halved in 2023, meaning fewer children will have access to music or dance lessons. State funding for study associations has also been cut by a third in the last three years, leading to the closure of rehearsal spaces in many areas. This impacts the future of both symphonies and rock bands.
When I read Horace Engdahl, and more recently Andres Lokko (ETC 10/3) about “Chalametgate,” I wonder if we can afford to continue categorizing cultural expressions as high or low art. Göran Hägglund fired the first shot in the culture wars with his Almedal speech in 2009, establishing these dichotomies.
Not that I disagree with Engdahl when he says we must restore the universality and status of high culture—I wouldn’t be a critic if I didn’t believe some cultural expressions are better than others. But simply, it’s a distraction. The “archipelago of special interests and tastes” that Engdahl described is on the verge of becoming a wasteland—art is singing its swan song.
But sure, be angry at a seven-second clip of an actor talking about his career choices.
Loretto Villalobos is a culture journalist and performing arts critic
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