It will come as no surprise to anyone to discover that classical music PR has been hit as much as any other sector in the downturn, more so perhaps because much of it is mired in old technology and false terminology.
Artists are always great or important, they are only ever motivated by inspiration and, if they cancel a concert for a hottie on a South Sea beach, they must surely be doing so on doctor’s orders. Many careers have been made by PR and twice as many damaged.
Rollando Villazon – to name just one obvious victim – might still have a voice to die for if he hadn’t allowed himself to be used as Anna Netrebko’s PR prop.
In the June issue of The Strad, print version only, I ask whether classical PR does more harm than good. If you work in the music business, or have been asked for $10,000 to place a New York Times feature, you may want to read it.
Herbert Breslin, where are you now?