Some people say they’re bored in shul.
The davening is too long. The chazzan is too slow. The melodies are outdated. (No complaints about the rabbi, though!) But here’s the uncomfortable truth: It’s not the music that changed; it’s us.
Actor Timothée Chalamet recently suggested that opera and ballet can feel boring to modern audiences. His comments caused quite a stir – especially with opera singers and ballet dancers. Yet he wasn’t so much dismissing high culture as he was diagnosing a deeper condition.
Perhaps the issue isn’t the art form; it’s our capacity to enter into it.
We are not bored. We are disconnected. And Judaism was never meant to be experienced from a distance. It demands participation, emotional engagement, and, ultimately, intimacy.
There was a time when chazzanut was not something you listened to. It was something you entered. The drawn-out notes and the rising and falling melodies weren’t merely aesthetic flourishes. They were pathways into the heart. A chazzan elongated a note or sand a falsetto, and people would close their eyes. Today, they check their watches.
We have become spectators of experiences we were meant to live. What once stirred the soul can now feel distant - not because it lost its power, but because we lost our fluency in the language it speaks.
In a world starving for feeling, how can we recapture a sense of closeness?
The Torah’s term for sacrifice - korban - comes from the root karov, to be close. A korban was not about giving something up; it was about drawing near. As Ramban explains, the purpose of korbanot was to awaken the heart of the person bringing them. Watching the offering, one was meant to feel this is very personal. It was a visceral, emotional encounter that stirred introspection, humility, and ultimately, connection to God. The sights, the sounds, the gravity of the moment were designed to awaken something within.
Judaism has never been satisfied with dry observance. It calls for the heart.
Few articulated this need more powerfully than Rabbi Kalonymus Kalman Shapira, the Piaseczno Rebbe of the Warsaw Ghetto. Writing in the shadow of unimaginable darkness, he taught that the human soul is wired for emotion:
“The human soul loves to feel. Not only in relation to joy, but it loves the emotional experience, even of sadness and crying. People love to see horrific sights and hear terrible stories to the point of tears just to feel emotional.”
The Rebbe went on to note that if we don’t find elevated ways to feel, we will seek diminished ones. The craving for emotional intensity doesn’t disappear; it gets redirected.
This insight feels uncannily contemporary. In a world of constant stimulation, people binge stories, chase outrage, and scroll endlessly - not always for information, but for feeling. We want to laugh, cry, and be stirred. The Piaseczno Rebbe is telling us that this emotional hunger is holy, but it must be guided.
Why does being in shul or davening sometimes fail to move us? Because too often, we approach it as spectators rather than participants. We evaluate the chazzan, critique the tune, or calculate time remaining. We stand outside the experience. But emotional connection cannot be outsourced. The Rebbe emphasizes that it is not any specific melody that unlocks the soul; it is the willingness to enter into the emotional state itself:
“Not only with a tune of broken heartedness, but also with a joyous song…sometimes a person cries during a happy tune…sometimes dances to the somber tune of Kol Nidrei…”
A genuine experience is not performance. It is found in immersion.
Perhaps Chalamet’s critique is less about opera and more about us. We have lost the patience - and perhaps the courage - to let ourselves be carried by something slow, unfamiliar, and emotionally demanding. But Judaism insists that is precisely where connection lies. To daven is not to endure a service; it is to offer oneself. To sing is not to produce sound; it is to reveal the soul.
The Piaseczno Rebbe even suggests a simple, radical practice. Sing quietly to yourself at home. Not for anyone else. Not even for beauty. Just to awaken the inner world that longs to be expressed.
We live in a time of profound distraction - and profound longing. People may say they are bored, but beneath that boredom is often a deeper ache: to feel something real. The right response is not to abandon depth for brevity, or tradition for trend. It is to rediscover how to engage.
If the problem is disconnection, the answer is not shorter davening or better performance. It is deeper participation. We need to stop observing and start participating. Don’t evaluate the davening. Enter it. Even for a moment. Try singing a little more. Not so people can hear you, but because the soul needs expression. Slow down even for one moment of the prayers. Choose one beracha, let it land, and make it mean something personal. Create emotional space at home. Sing quietly. Sit with a pasuk. Just feel - without distraction, without pressure.
Whether you like opera or cantorial music or not, we must lean into our emotional and spiritual selves. To step into the davening instead of standing beside it. To sing not as a critic, but as a seeker. To allow the ancient rhythms of Jewish life to do what they were always meant to do. To bring us close. Karov.
At our core, we are not just looking to be entertained. We are looking to be moved. The question is not whether the music still works. The question is whether we are ready to listen - not just with our ears, but with our souls.