Opera Assult

The disappearance of the bourgeoisie has led to a crisis in the arts. How can we track down the defeated remnants of the philistine class, in order to disturb them with the proof of their irrelevance?

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The disappearance of the bourgeoisie has led to a crisis in the arts. How can we track down the defeated remnants of the philistine class, in order to disturb them with the proof of their irrelevance? Theatres, galleries, restaurants and public resorts all offer impeccable post-modern fare, addressed to non-judgemental people. Television has been dumbed down below the horizon of bourgeois awareness, and even the churches are rejecting family values and the marital virtues. Yet, without the bourgeoisie, the world of art is deprived of a target, condemned to repeat worn-out gestures of rebellion to an audience that long ago lost the capacity for outrage.

All is not lost, however. There is one last redoubt where the bourgeoisie can be corralled into a corner and spat upon, and that is the opera. Believers in family values and old-fashioned marriage are romantics at heart, who love to sit through those wonderful tales of intrigue, betrayal and reconciliation, in which man-woman love is exalted to a height that it can never reach in real life, and the whole presented through heart-stopping music and magical scenes that take us, for an enchanted three hours, into the world of dreams. Siegfried’s love for Brünnhilde, shot through with unconscious treachery, Butterfly’s innocent passion built on self-deception like an angel on a tomb, Grimes’s death-wish, rationalised as a longing for Ellen’s maternal love – these are dramatic ideas that could never be realised through words, but which are burned into our hearts by music. Is it surprising that our surviving bourgeoisie, surrounded as they are by a culture of flippancy and desecration, should be so drawn to opera? After a performance of Katya, Pelléas, La Traviata or Figaro, they stagger home amazed at those passions displayed on the stage, by creatures no more god-like than themselves! They will come from miles away to sit through their favourite fairy-tales, and drive home singing in the early hours. They will pay 200 dollars for a mediocre seat, in order to hear their chosen prima donna, and will learn by heart the arias which they are never satisfied to hear unless in the flesh. Take any performance of an operatic classic anywhere in the world, and you will find, sitting in close confinement, motionless and devout for the space of three hours, the assembled remnant of the bourgeoisie, innocent, expectant, and available for shock.

The temptation is irresistible. Hardly a producer now, confronted with a masterpiece that might otherwise delight and console such an audience, can control the desire to desecrate. The more exalted the music, the more demeaning the production. I have come across all of the following: Siegfried in schoolboy shorts cooking a sword on a mobile canteen; Mélisande holed up in welfare accommodation, with Pelléas sadistically tying her to the wall by her hair; Don Giovanni standing happily at ease at the end of the eponymous opera while unexplained demons enter the stage, sing a meaningless chorus and exit again; Rusalka in a wheelchair from which she stares at a football in a swimming pool, while addressing the moon; Tristan and Isolde on a ship divided by a brick wall, singing vaguely of a love that hardly concerns them since each is invisible to the other; Carmen trying in vain to be a centre of erotic attention while a near naked chorus copulates on stage; Mozart’s Entführung aus dem Serail set in a Berlin brothel; Verdi’s masked ball with the assembled cast squatting on toilets so as to void their bowels – not to speak of the routine Hitlerisation of any opera, from Fidelio to Tosca, that can be squeezed into Nazi uniform. Wagner is always mercilessly mutilated, lest those misguided bourgeois fall for his seductive political message; and as for Madama Butterfly, what an opportunity to get back at the Americans for that bomb dropped on Nagasaki!

The extraordinary thing is not that this mutilation occurs, but that it is paid for by the taxpayer. Opera productions are expensive, and the more facetious they are the higher the cost in the props that are needed to grab the attention of an audience lost in wonder as to the meaning of it all. The producers too are expensive. People like Peter Sellars, who have made a living out of the effort to astonish, are international stars. There is a frenzied competition among such avant-garde producers as to who can squeeze the greatest emotion – positive or negative, it hardly matters – from the reviewers. And it seems that, when it comes to claiming subsidies from city councils and arts bureaucracies, what matters is not what the critics say but how loudly they say it. An opera house, to claim the standing required for a state subsidy, must be ‘controversial’, given to ‘path-breaking’ and ‘challenging’ productions. The bureaucrats need to be persuaded that, without a subsidy, something very important to the future of the city or the nation will be jeopardised. And its importance is proved by the protests that are inspired by it.

What should be our response to this on-going assault on one of the world’s greatest art-forms? One argument that I frequently hear goes like this. Operas are expensive to put on; to charge the full price to the audience would be to price the art-form out of the market. Subsidies are therefore necessary. And subsidies are obtainable only if those who provide them can be persuaded that they are not funding old-fashioned bourgeois audiences, since such audiences have had their share of life and are soon for the chop in any case. Controversial productions are therefore necessary, since the alternative is no productions at all.

There is a measure of truth in that argument. The bourgeois audience is necessary to inspire the modern producer, since otherwise he has no one to offend. But the offence is necessary otherwise the bureaucrats will think that they are subsidising the bourgeoisie, which God forbid. The problem is that the argument is based on a false premise. Opera productions do not in fact need subsidising. For it is not productions that are expensive, but producers. They are expensive because, like Richard Jones, Peter Sellars and Pierre Audi, they have a deep psychological need to draw attention to themselves, at whatever cost to the music. This means outlandish props, lighting effects, strange gestures imposed on the singers in opposition to the natural movements inspired by the music.

I am the more persuaded of my view in this matter by small scale honest performances of the kind that come our way in rural England, or which used to be put on by the great Lorin Maazel at Castleton in Virginia. Every summer we in rural Wiltshire are visited by a small group called Opera à la Carte, under the leadership of Nicholas Heath, who brings classics from the repertoire, from Don Giovanni to Madama Butterfly, performing them on improvised stages in tents or drawing rooms, accompanying the singers with a chamber ensemble, and allowing the magic of the story to spill out over the audience, with only costumes and few unpretentious props to create the scene. At Castleton Maazel enjoyed a small theatre, and later a larger one built to his specification, together with an orchestra put together from the young musicians whom he mentored so generously. But again nothing was spoiled by over-production, the music was allowed to speak for itself, and costumes and a few stage effects were enough to create the atmosphere.

What modern producers seem to forget is that audiences are gifted with the faculty of imagination. This faculty is not extinguished by being bourgeois. Indeed, it is one of the faculties that an ordinary decent bourgeois has to exercise continuously, if only in order to respond forgivingly to the contempt of which he is the target. The obvious truth, that opera stimulates the imagination by presenting a drama as sung rather than spoken, seems to escape the attention of the new school of producers, perhaps because so many of them spend their apprenticeship in the spoken theatre. Perhaps they do not fully understand that serious music, by existing and moving in a space of its own, automatically transports us to an imaginary world. Put singers in costumes that distance them from the audience and, even without stage sets and props, they will move in a world of their own. The music itself will tell them where to turn, and with what expression on their faces. Add a prop or two and all the meaning that the composer intended is there in the room, and only the quality of the performance will affect whether the audience can grasp it.

And here is where I think the greatest disservice has been done to opera by the new style of production. In the past a production was designed to present an opera; now it is designed to interpret it, to attach a meaning to it, whether or not it is a meaning that the work can easily bear. The work is seen as a vehicle for the ideas of the producer, rather than a drama whose meaning lies in itself. Instead of allowing the music to speak the producer stands in front of it, so to say, moralizing at the assembled bourgeoisie, saying that this or that feature of the text or the music must be pinned to some allegorical or symbolic meaning, and that in any event the whole thing has to be made into a relevant commentary on the psychic traumas of the day – otherwise how can we take it seriously? In short the magic of opera, its capacity to create an enchanted world of its own, must be neutralised by an interpretation that brings it down to earth, that pins it into some sordid corner, as Peter Sellars did with Pelléas et Melisande, so that the imaginary world intended by the composer is blotted out by a screen of the producer’s usually half baked and in any case self-aggrandizing ideas.

Adapted from Future Symphony.


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Jack Westin
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  1. I hope the articles are not this long. And it would help to have questions and answers. Or else the only thing people could potentially improve is their volume of reading.

    Nonetheless, i’m thankful.


  2. Opera is a primary form of entertainment for the bourgeois class and it is very expensive. One main problem is that it relies heavily on government subsidies, but this is not because the production is expensive, but rather the producer has expensive and eccentric tastes. Productions are just as effective with less props and costumes using the audience’s imagination


  3. MIP: New style opera = “mutilations” of originals + overproduced. Producers= main problem –> interpret too much.
    Tone: Negative


  4. bourgeois loves opera, opera doesn’t need subsidies, new form of opera bad


  5. New opera = inadequate + needs change


  6. Can someone help me figure out what they mean/are referring o in the first paragraph when this is mentioned: “How can we track down the defeated remnants of the philistine class, in order to disturb them with the proof of their irrelevance? Theatres, galleries, restaurants and public resorts all offer impeccable post-modern fare, addressed to non-judgemental people. Television has been dumbed down below the horizon of bourgeois awareness, and even the churches are rejecting family values and the marital virtues.”?



    1. Took it as the bourgeois class is disappearing, a shame because they are a common artistic target for criticism, satire, etc. calling them irrelevant
      Nowadays a lot of people and places aren’t out making fun of the bourgeois. Bourgeois are considered to be judgmental, those with materialistic tendencies and conventional values. But less people are like that nowadays, seemingly. Class shrinking or seems that way. As result less demeaned at theaters, galleries, or anywhere because they’re nowhere to be found.


    2. I think the author is sarcastically saying that the old middle class is disappearing, but no matter because opera is created for the new middle class these days. The author uses the term “bourgeois” in reference to either the new middle class or the old middle several times throughout the article.

      This was on the harder end of the spectrum for CARS passages I think, really good practice.


  7. MI: Remaining bourgeois are at the operahouse, where modern producers now focus on creating something for them that is controversial and emotion-evoking through overproduction. Author tone: appreciates old, simpler opera where audience uses more imagination


  8. issue = operas are shifting due to new producers not allowing the audience to imagine. new producers are focused on overproduction, which is expensive.


  9. author is not in favor of the new opera. subsidies are needed to pay for operas because producers are expensive. opera doesn’t have to be expensive, i.e. rural traveling plays. audience can use imagination so heavy prop display isn’t necessary. author is against having new operas interpret it.


  10. The author’s main idea is that opera is best interpreted sufficiently by the audience without props and over-production. The author argues that producers add too much of their own interpretation to the production, which drives up the cost to the taxpayer. This is, however unnecessary, and the over-production is mostly self-serving to the producer rather than the audience.


  11. Art made for the upper class has seen a decline and in its place is lowbrow and crass entertainment. Even churches are pandering to the general public with their deviation from family and marital values that typify upper class art. Author laments that without the upper class to spite and poke fun at, the scene has become boring as the upper class would have been riled by such uncouth entertainment.

    So opera is like the last surviving art appreciated by the upper class where traditional values are still being espoused. The author takes a jab at the upper class for spending so much money to watch opera and these people evidently still hold on to their traditional values and thinking.

    Author points out that the themes in traditional opera productions have been butchered by the producers in their attempt to shock their audiences. He is incredulous that these expensive productions are actually subsidized by the tax payers. Producers try to outdo one another by being controversial so that get more sponsorship by the sheer amount of publicity generated. Author doesn’t mind that the productions get butchered as long as they get staged because a nonsensical production is better than not having at all.

    Subsidizing the performance allows the producers to continue offending the upper class although the costs actually go to paying the directors. Author feels that these directors are overpaid and opera itself doesn’t need much money to stage to achieve the desired effect. It can cost little as long as the audience are an imaginative bunch. Author feels that having a good imagination is important when one attends opera especially for the upper class who needs it even more, otherwise they will take the performance too literally and not appreciate the humour and nuances behind it.

    Opera is different from spoken theatre in that it uses music to take the audience through that surreal experience which producers these days are not taking advantage of. In place of the music, they employ self-righteous themes that serve to pontificate and patronize the upper class.


  12. Bourgeois is a shrinking class that is now found primarily in the operahouse, where the expensive process of opera is created. Issue of subsidizing is brought up, where the author believes that the cost of producing opera benefits the producers more than the audience. Author also believes that imagination and symbolic thought is an important part of opera that needs to be the main center piece of it today.


  13. The author is critical of the modern day opera productions and seems to hope that it will change. He seems to think that modern day productions focus too much on spotlighting the producer and attempting to attach a meaning to the opera, rather than letting the music and art of the opera speak for itself. Therefore, he disagrees with the idea that operas should be subsidized because he thinks that the reason they are so expensive in the first place, is because the producers use expensive sets, lighting, and costumes to draw attention to themselves — which he finds unnecessary for the opera art form itself. He contrasts the modern day form with an opera production that used to come by his town, which was much less extravagant.


  14. MIP: critical of modern day opera bc too expensive and cost doesn’t benefit audience


  15. MIP: Bourgeoise audience important for opera, controversy = important, Author prefers less effects (props etc)


  16. MIP:
    (1) Overproduction by new producers = bad
    (2) Focus should be on the music + enabling audience to imagine

    Negative towards producers that create too many modifications/ focus on overproduction.


  17. New opera is being ruined by overproduction, mainly the fault of producers who are self concerned with their own ideas instead of focusing on the music itself.

    Author: new opera bad, old opera simpler/good


  18. producers created a Disservice to Current opera vs. past > Author > – toward the current opera
    Crisis in art due to disappearance of bourgeoisie.


  19. MIP: art is in a crisis due to the bourgeoisies lack of presence. The bourgeouss is however interested in the opera


  20. The new style of opera production = bad = kill audience imagination, add unnecessary interpretation = grab attention but lost meaning.


  21. Author criticizes new-age operas for adding too much fluff to productions and preventing viewers from using their imaginations.


  22. bourgeoise=the target of art+fit into opera appreciation
    Opera production/producer=expensive
    Opera production=should emphasize on interpretation, not a drama with its own world.


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