An email from Marian Skokan, publicist at Lincoln Center, helpfully reminds me that their White Light festival, earlier this season, is designed to draw the same kind of new audience the Tully Scope festival did, as I’ve been describing in recent posts. (Here and here.) By which I mean people who don’t normally go to classical performances, but do go to these festivals. These two festivals are the two bookends, fall and spring, of Lincoln Center’s flagship Great Performers series. Which means quite a notable change in how Lincoln Center is positioning classical music.
There are other events in NY that have started to draw this new audience. The February Tune-In Festival at the Park Avenue Armory, for instance, programmed by eighth blackbird. (What a delight to see them reaching toward the wide audience they so richly deserve. And how unfortunate that I couldn’t be there.) And also Alan Gilbert’s new music performances with the Philharmonic, most spectacularly including last year’s staging of Ligeti’s opera Le Grand Macabre, which sold out to single ticket buyers after many subscribers decided they didn’t want to go.
This is a wonderful rebirth for classical music. Lincoln Center, especially, seems to understand how it needs to diversify, to thrive in the future. And is moving in that direction!
So can this be done elsewhere, outside New York? I’ll peruse that in my next post.