Good moves

1. The San Francisco Opera streams its live performance of Tosca to a sports stadium.

2. The Seattle Opera held a competition to find a host for what it calls a "reality-style video project," titled "Confessions of a First-Time Operagoer." They chose a 19 year-old student, who'll create an online chronicle of her first exposure to Wagner's Ring.

These are good things. They make the opera companies more visible in their communities. They create buzz. They bring in people who wouldn't normally pay attention. The San Francisco Opera -- which has streamed opera to the stadium twice before -- drew 27,000 people to its show. And seems like they knew exactly how to make this a real event:

Opera General Director David Gockley threw out the first pitch, so to speak, in a precurtain speech from the Opera House [says a story in the San Francisco Chronicle]. After introducing conductor Marco Armiliato, who led the ballpark and sold-out Opera House audiences in the national anthem, Gockley poked his head out from behind the curtain to call out, "Play opera!"

Seattle's winner, says a Los Angeles Times blog, will

conduct behind-the scenes interviews with the artists, attend rehearsals and even meet with the so-called Ringies, the die-hard fans who follow "Ring" performances all over the world.
She'll also post Facebook updates, and tweet on both her own and the opera company's Twitter accounts.

Is all of this a little hoky? Sure. So what? It's also fun. I'm sure the 27,000 people in AT&T Park in San Francisco had a good time. I could also say that my interests in classical music might go in other directions, but again, so what? Our field badly needs exposure and excitement. And, if what happens in pop music is any guide, the bigger and more popular we get, the more room also opens up for challenging offbeat stuff. The bigger the market, the bigger its fringe.

Every classical music institution, big or small, should do things like these. And not just once, or once a year -- repeatedly, over and over, so people (even people who might never want to go to a performance) know that the institutions are there, and that they're constantly doing new things.

As Leonard Slatkin said this week, assessing the condition of the Detroit Symphony (where he's now music director):

We need to become more of a presence in the community. Not everybody goes to hockey games, but everybody knows about the Red Wings. A lot of their people do very good things in the community. We need to be like them. We want more people to know about the DSO.

June 12, 2009 2:49 PM | | Comments (6)

6 Comments

My fiancé and I attended the SF Opera at the Ballpark event and absolutely loved it. It was a totally different experience from seeing an opera in a hall, and the audience reflected that. It was also different from seeing a video recording after the fact. There was something thrilling about knowing that it was live and that there were over a thousand well-dressed people in the hall experiencing the same music as we were at that very moment.

One of the marked differences in seeing the opera simulcast in the ballpark - at the end of the 2nd act, everyone whooped and cheered at Tosca's boldness. There's no way you'd hear an audience member shouting out the equivalent of "you go, girl" in an opera house. (And I, for one, certainly wouldn't want to.) But in a sporting arena, it's not only OK, it's appropriate.

Another very cool thing that happened - during some of the more romantic music, there were a number of white birds that flew around the screen, as if they had been choreographed.

The only drawback was that the audience as a whole seemed more rude than your standard baseball game audience, pushing and shoving to get past in an awfully crowded hallway.

Thanks for the great post!
- Rachel Rossos

1. SF OPera: More and more and more and more, various forms of digital transmission are becoming the norm for serious music,

As a card carrying member of the fringe, I'm with you whole heartedly. I know I've been a little slow to "get" what you've been talking about. Maybe it's my "leftish" dislike of the crassness modern day marketing.

Thanks. I tell my students that marketing doesn't have to be crass. Ideally it shows people who you are, and what you're doing -- as you yourself see it. It can be just as serious as serious art, and if seriousness is what someone's about, seriousness is what they should market.

The idea of opera or a symphony at the ball park seems very appealing. Who wouldn't want to listen to, say, a Prokovfiev piano concerto while munching on a hot dog and watching the boats go by McCovey Cove?

The venue will be familiar so a first-time listener wouldn't feel intimidated by the fancy crowd at the concert hall.

Makes sense.

I thought the correct term was Ringheads.....

I love this Idea,a great way to expose kids to music without it being to intimidating.

Leave a comment

Resources

Age of the audience 
Conventional wisdom: the classical music audience has always been the age it is now. Reality: It used to be younger -- dramatically younger, in fact. Here's some evidence -- primary sources (actual texts of old studies, links to NEA studies) -- plus two of my blog posts on this subject, and some anecdotal data.
more

earlier resources

Things I like

Dion on YouTube 
He's singing his first big hit in the balcony of a theater, with his group (aka two backup guys) the Belmonts. The song is gentle, and if you listen to the words, it's supposed to be sad. "Why must I be a teenager in love?" But Dion is cocky and confident, enjoying his easy triumph. So this -- in Milan Kundera's famous definition -- can't be kitsch. There's no subtext telling us that he knows he's being sad, because he's not being sad. But the song is honest. It's about something he might have felt before he was famous. And surely it catches the helpless longing all the girls listening to him felt, all the girls clapping dutifully, right on the beat (because we white people hadn't yet learned what a backbeat is).

Terminator: The Sarah Connor Chronicles 
Smart, searing TV series. For instance: Cameron looks like a teenage girl, but really she's a killer robot from the future, reprogrammed to help people, rather than kill them. But she's still a killer. And though she tries to understand human beings, she can't grasp empathy. Someone finds a turtle on its back, and turns it over, so it can walk again. Why do that? Cameron asks. Later she attacks -- with unrelenting violence -- a friend of the people she's helping, because she thinks he's a liar. "Stop," she's told. She looks down at the man -- battered, groaning -- and with no expression turns him over.
 
Lucinda Williams, Little Honey 
Her most joyful album, but also her roughest -- very frayed, vocally, with edgiest band she's ever had. I don't know if I trust the joy (and I'm sad to say that), but she sounds like she's bitterly earned it.

Mantra for the arts 
From a New York Times Sunday piece on Wong Karwai, describing how he made his early film Ashes of Time:

"Mr. Wong was in a corner watching on a monitor. Every so often, in his measured way, he...called out to his cinematographer, Christopher Doyle, 'Is that all you can do?'

"Mr. Doyle, now a longtime collaborator of Mr. Wong's, said in a recent telephone interview that he heard that question as a constant challenge. 'It should be the mantra for all people in the arts.'"

more things

About this Entry

This page contains a single entry by Sandow published on June 12, 2009 2:49 PM.

Defending the students was the previous entry in this blog.

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