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Listen to the Music

(Observations, Brian Kellow, Listening, Criticism, Keeping it Local, New York City) Permanent link   All Posts
Have you noticed that so many conversations in the world of opera now focus on one general area — audience outreach and product access? Whenever I speak with opera-company directors, in particular, they say surprisingly little about the quality of what is being put onstage; instead, they mostly want to talk about how they will continue, in these challenging times, to put bodies in the seats. More to the point, they want to discuss how they will continue to put young bodies in the seats. Recently, I was on the phone with an executive at a major West Coast opera company. I wanted to ask her about the company's programming thrust for the coming season. Before I knew it, she was performing a lengthy commercial for her efforts to involve all of the local comic-book artists in the opera scene, and how such initiatives were vital to bringing in the opera newbies. By the time I hung up, exhausted, I had forgotten why I'd called her in the first place.

I support this push for new audiences in opera, but I think I may be coming at it from a slightly different angle. Implicit in all of the arguments about the need to lower the median age is the suggestion that all of those older people currently filing into the theater are engaged, tuned in, fully responsive to what's happening onstage — and that it's crucial to get younger audiences to function in the same way.

I would hope we could get the new audiences, wherever they may come from, to do much better than that. I do not believe for one second that most of the senior citizens I often find myself surrounded by in New York really have a profound connection to the music that the younger generations will have trouble matching. I think many older people, in New York especially, were brought up with the idea that attending live performances was crucial to being culturally well-rounded. They may be paying to fill the seats, all right. But I’m not sure they're filling them in a meaningful way. 

One recent example, among many: in mid-June, I attended a concert of the New York Philharmonic, with Ludovic Morlot conducting. On the first half, the orchestra played the lovely Prelude to Khovanshchina, followed by William Walton's Violin Concerto, impressively performed by the wonderful Gil Shaham. The woman in front of me dozed off as soon as the Mussorgsky began. The man next to her waited until the Walton to start bagging his Zs, and he came to only when the audience broke into sustained applause at the end of the entire concerto. Behind me, a man wrestled with his hearing device, pitched at air-raid level. My favorite, though, was the lady to my left, who, before the music started, bitched endlessly at her husband about the jacket he was wearing. Later, she wondered aloud why it took so long to rearrange the stage for the Walton. Throughout the first half, she restlessly leafed through her large-print program notes without once looking up at the stage. In the middle of the concerto's exciting final movement, she said, to no one in particular, "You’d at least think the program could mention that Gil Shaham comes from Israel." What could any of these people really have taken away from the evening other than a hefty Visa bill for dinner and a parking garage?

As a journalist, I prize evenings such as this. It’s wonderful to be able to look around and eavesdrop on the people sitting near you, because you can learn a great deal about where we’re heading culturally. But my greatest hope for the succeeding generations of ticket holders is that they'll be more tuned in than those who came before them. spacer 


Pretty much the same here in SF; in the exopensive seats, they're mostly looking at each other and talking. Upstairs (at the SF Opera) different story. They're engaged in the performance. Not sure how this improves the bottom line, though. And a news flash for the West Coast marketing maven: the average comic book reader is now over 60 years old. Better examine your underlying premise before you spend much more time and money.
Posted by: Application at 7/28/2011 3:55 PM

I agree so much with your article. But I will tell you what I've noticed coming from a relatively new Opera lover. I am just under 20 and am studying Vocal Performance in school. Therefore, we have to attend many operas. This, I don't mind because I love it. Its unfortunate that my wallet doesn't agree. And I understand that productions don't get any cheaper, Opera isn't cheap. But, I really love what the Met is doing with the Opera's in theatre. Myself and my friends are able to frequent those so much more often than the real Atlanta Opera productions. I believe that what the Met is doing will help Opera in the long run. Its arguable that it's not the same and lacking on the real feeling of an Opera, but nonetheless is better than not seeing it at all. On a side note, for the well-being of Opera to the general public, producing Opera's in English more often will also help. Peach State Opera Company is a company in my area that for the sake of popularizing opera will produce an opera in English and sell many seats doing so. I also noticed that the videos on Youtube that are most often looked at are the ones in English, such as the Magic Flute with Nathan Gunn in it. Just a few things from my point of view. Thank You,
Posted by: Application at 8/5/2011 11:11 AM

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