THE MET’S SWAN SONG? Kelly Jane Torrance: Pursuit of politics and personalities ruined the Met Opera — America’s biggest performing-arts institution.
Then, as if to prove why the company’s having trouble raising money at home, audiences savaged its just-ended run of the Bizet classic “Carmen.”
The ripped-from-the-headlines production, brought back from the 2023-2024 season, moves the action from 1820 Seville, Spain, to modern-day America.
Instead of sumptuous costumes and striking sets, star mezzo-soprano Aigul Akhmetshina traipsed across the stage in denim cutoffs and cowboy boots, while bass-baritone Christian Van Horn’s Escamillo crooned his “Toreador Song” dressed as a rodeo rider.
Carmen works not in a cigarette factory but for an arms manufacturer, and the troops were transformed, as many saw it, into ICE agents.
It wasn’t money, though, that led superstar tenor Jonas Kaufmann to declare at year’s end that he’d no longer appear at the Met.
The big box-office draw — one of the greatest singers of his generation — heavily hinted that Met leadership was behind his decision.
“I felt very bad about how they treated the chorus and orchestra in the pandemic. They didn’t get paid at all. Musicians had to move out of New York or move in with their parents. I did a livestreamed concert and asked listeners to donate. That didn’t go down well,” Kaufmann told BBC Radio’s Norman Lebrecht.
Few opera singers look their best in Daisy Dukes. And yeah, the Met was pretty awful to its worker bees. But it wasn’t so great to them before, or after.

