The Enduring Challenge of Opera: Language and Audience Engagement

Recently, I was honored with an honorary degree, presented in Latin. I appreciate this choice. Though my Latin comprehension is limited, diplomas written in an ancient language convey a sense of distinction, tradition, and gravitas.

Reflecting on this, I realized that some people feel similarly about opera—viewing its often foreign language as part of its unique allure. However, I find this perspective difficult to accept.

The discussion surrounding whether opera should be performed in translation remains vibrant and is increasingly relevant today. As opera companies face challenges attracting new audiences and contend with digital distractions, enduring lengthy performances in unfamiliar languages can feel like a cultural curiosity rather than an accessible art form. This language barrier is a significant factor limiting opera’s wider appeal.

Historically, throughout the 19th and well into the 20th century, it was common for operas to be presented in the audience’s native tongue. For example, Verdi would have found it unusual for a French audience to hear 'Il Trovatore' performed in Italian. Likewise, Mozart’s operas in Salzburg and Vienna were often sung in German until World War II. Even Wagner anticipated his operas being translated into French when staged in France.

I often wish I could experience operas in my own language. Take Act II of 'Die Walküre' ('The Valkyrie'), where the god Wotan reflects solemnly on the 'Ring' saga for nearly twenty minutes—a section that can hinder theatrical momentum and test the audience’s patience. I once witnessed this scene beside a renowned singer who, clearly disengaged, spent the time distracted by his companion. Had the performance been in English, the audience might have better grasped the unfolding drama.

In the United States, opera was once widely cherished in translation. An English rendition of Rossini’s 'The Barber of Seville' enjoyed sustained success in New York from 1819 to 1824, and a French version was performed in New Orleans in 1823. However, during the Gilded Age, opera became a symbol of European refinement among the wealthy, fostering the belief that authenticity required performances in the original language.