Nate, the activist who led the November 21, 2025, disruption of the Metropolitan Opera’s “Carmen,” has issued an open letter addressed to the cast, creative team, and members of the public seeking clarity on the group’s motivations.

The letter, which was sent to OperaWire, was written following Smith’s release from Manhattan’s central booking facility and outlines both an apology to the artists and an explanation of the protest’s objectives.

“This open letter is first an apology to the cast, an explanation of our action, and a reiteration of
our plea. I write because it is a unique circumstance,” Smith says in one of the introductory paragraphs of his letter. “First—to the cast of Carmen, I am sorry. You have every right to be furious with us, or whatever
else you feel. I know many of you were scared. We intentionally stayed downstage. I know this is at best irrelevant to most of you, if not re-infuriating and laughable. I woke up the morning I got home with an urge to share what you deserve to hear, an expression of remorse and explanation, regardless of what you do with it. I run several arts service nonprofits and have committed my life to the performing arts. That is what I do professionally besides organize. I believe, however audaciously, live performance may be the best chance we have of saving our country and planet. One of my dearest friends in New York works for The Met—Hi. If you never want to talk to me again, I get it.—I accept the outcomes of my actions, including anyone’s scorn. According to nonviolent principles, we cannot appeal to the rule of moral and judicial law and then try to escape them. Whatever you feel, I am truly sorry for how this impacted you.”

Smith further notes he and two of the other participants who ran on stage were promptly arrested, charged with trespassing, and waived their right to be separately tried. He adds that the action, though disruptive, was designed according to nonviolent direct-action principles and was intended to draw attention to a broader audience beyond the 4,000 patrons in attendance.

Moreover, he explains that the group’s stated aim was to call on Lincoln Center to remove donor naming affiliations tied to Koch Industries, Chevron, and Texaco. Smith argues that the presence of these names conflicts with the themes depicted in the current “Carmen” production and with the institution’s artistic mission. He cites the recent removal of the Sackler name from major museums as precedent for similar action at Lincoln Center.

“David Koch was a liar. Climate change is mass murder,” he concludes. “I know that the person who secured the deal with him for Lincoln Center did it with unease. David spent millions of dollars on misinformation and political nullification. [President Barack] Obama almost got both parties to pass the most ambitious climate legislation in history that might have negated my need to become a climate activist, but David Koch killed it. His legacy continues.

“The Greenland Ice Sheet alone will bury Lincoln Center in water, and it is said to be past the point of no return. Koch Industries and Chevron are working tirelessly to ensure this happens, that we will never change course. I have heard them say it out loud on camera to their investors before being dragged out of the room. And for what? For their profit—profits they then gave you to put their names on your buildings.”

He concludes the letter by asking artists, audience members, and those on the Board of Directors of Lincoln Center to “remove the names.”

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