BackstageClassical podcast features sobering reflections on Trump-era policies, shrinking audiences, and the global decline of state support for the arts
Peter Gelb, General Manager of the Metropolitan Opera in New York, offered a candid assessment of the challenges facing the cultural sector in the United States and beyond during a recent episode of the BackstageClassical podcast. Drawing on two decades at the helm of one of the world’s most prominent opera houses, Gelb spoke about the lingering impact of the Trump administration, the erosion of federal support for the arts, and the growing pressure on artistic freedom.
“We must not allow artistic freedom to be damaged or destroyed.”
Describing the situation in the U.S. as “very complicated,” Gelb linked a sharp decline in tourism to broader political shifts. According to him, international tourism to New York dropped by 17% after Donald Trump took office, with Canadian visitors down by as much as 75%. For the Met—whose audience once relied on international visitors for up to 20% of its box office income—this had significant financial consequences.
“Artistic freedom is a pillar of democracy and civilization.”
Beyond audience numbers, Gelb underscored the abrupt withdrawal of federal arts funding, noting that while the Met itself received less than 1% of its budget from federal sources, smaller institutions were disproportionately affected. “For them, this was devastating,” he said.
But the most alarming development, Gelb suggested, lies in what he called a “slow, creeping” threat to artistic freedom. He cited the example of the Kennedy Center, where financial dependence on the government enables political interference.
Asked why so many in the American cultural scene remain cautious in the face of such threats, Gelb pointed to fear.
“We have a government that devotes much of its energy to retaliation.”
Yet he also expressed hope that the democratic principles of the country would ultimately prevail.
Gelb emphasized the symbolic role of the Met as a beacon of democratic cultural values, highlighting past moments where the institution took a public stance—such as during a performance of Fidelio. “We do not preach,” he added, “but we hope our work speaks for the values we believe in: truth and freedom.”
He also defended the Met’s commitment to artistic independence, noting that from the beginning of his tenure, board members were expected to support financially, not interfere artistically.
“It’s like the separation of church and state.”
Turning to Europe, Gelb warned that right-wing populism and nationalism pose similar threats to state-supported opera companies. Many European institutions, he noted, may not be prepared if public funding is withdrawn. He cited a recent incident in the UK where a culture minister was criticized merely for attending an opera, reflecting the widening gap between politics and the arts.
In response, Gelb urged institutions to broaden their appeal without compromising artistic integrity.
“Not out of fear, but out of responsibility.”
This article is based on Peter Gelb’s interview in the BackstageClassical podcast, published on June 17, 2025. The original post is embedded below.
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