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.
Josh McNeill says
A little off-topic but I’d be curious to know if when you say (or anyone says), “people who don’t normally go to classical performances”, you mean anyone who doesn’t normally attend or if you think organizations should non-attendees who have money (and may donate later). I’ve heard people suggest that this should be the focus and, supposedly, even Alex Ross has stated such but I’ve never heard you imply anything other than a general audience of non-attendees, regardless of philanthropic potential.
Susanna Sloat says
I loved Tully Scope, but I am not new audience. I am old audience, but someone who rarely goes to Tully because it is expensive. Not to mention what a bargain Tully Scope was is to miss a lot of its allure. You had only to buy one ticket at full price to get all the others you wanted for $20 plus a $3 “facility fee” (and what a turnoff these now ubiquitous extra fees are). I paid $45 for a balcony ticket for Jordi Savall’s wonderful concert combining old Spanish music with the Mexican music (much of it current folklore) it engendered. There was dancing, too, always a plus for me.
$45 was the cheapest ticket; the others at full price were $60 and $75, which was the same for the other three concerts I attended at $23 a ticket. (Some of the new music concerts were cheaper, starting at $35). This marvelous bargain got me to Tully 4 times within 8 days. I saw Louis Lortie play Liszt’s Annees des pelerinage superbly. I love the music, hadn’t heard the pianist, but did have confidence that if Lincoln Center was presenting him in such a program he would have the technique to do it justice and he certainly did. I also went to Les Arts Florissants’ Rameau program, adding a ticket at $23 for a friend who also likes them. And I went to the Heiner Goebbels concert, also, bringing my husband, even though he didn’t remember that we had enjoyed a previous Goebbels concert at BAM. I wouldn’t have bought any of these 5 tickets if I had to pay full price for them, though they were all superior offerings of just the kinds of things I like. I hope they have Tully Scope again. Price counts.
aleba gartner says
add miller theatre and new york city opera to the list! you were at Monodramas on friday–what a spectacularly diverse audience, a very unusual one for classical music. and $12 to get in. miller’s “composer portraits” series continues to pack the house with curious attentive listeners from all walks of life. miller has increasingly been reaching out to the columbia students on campus, and a quick scan of the audience shows it’s working. $15 for students, $25 for all the rest. i think affordable + adventurous programming is a must.
Declan says
Maybe the Spring for Music festival at Carnegie Hall in May? 7 Orchestra playing a lot of new music for $25? I think they are trying to get a lot of new listeners in on it. I hope it works out, it looks kind of exciting!
Liz says
When you say “people who don’t normally go to classical performances,” do you mean mainly young people? I am so sick of this discussion of how the classical music world can attract a younger audience, and why aren’t they going, and do we even want them in the audience, etc.
I’m a young person in NYC, and I attend opera and classical music concerts all the time. And I see many other young people at them. There are ways to get cheap and even free tickets via student discounts and other promotions, if you know where to look. I think the main difference is that young people don’t subscribe, they are more likely to buy tickets the day of, and that throws people off because it’s not how they prefer ticket-buyers to behave.
I feel like the majority of people who have written about this topic ignore the young people who actually ARE attending. I agree that there should be a lot more of us, definitely. But reading these articles where people are shocked to find young people in the audience… I just think the writers aren’t looking around as much as they should at other concerts! We are there, I guarantee it. The young people I know who attend classical music events go because they are passionate about the music and the performers. Often I find that the younger audience is much more interested and invested in the concert than the older crowd. And I know that there are more people my age out there who would love to go to concerts, if it were a bit cheaper or if they were more aware of how to get discounted tickets.
I have heard ideas to attract young people that include the use of interactive technology at the actual concert, and strange suggestions using social networking and the like… Those ideas upset me because it seems like there is an assumption being made that young people need this kind of technology to connect to an event or a piece of music, and that we wouldn’t be interested otherwise. That is just condescending! Not everyone needs a computer screen in front of them to have a life experience. And would we really want that kind of audience anyway? Ideas like this one: http://www.artsjournal.com/sandow/2010/12/orchestra_scoreboard.html are what I’m mainly talking about. I think it would completely ruin the concert-going experience for the rest of the audience, all to attract a few new listeners.
I think that, like Aleba said, people need to focus on how to tap into the core group of young music lovers out there by offering cheaper tickets and interesting programming. The audience is out there.
san francisco music school says
I like your posts about the culture in New York. I live in Los Angeles and clearly it is a much different cultural scene than what describe in New York. There is still a very prevalent scene in Southern California but it is much different and more relaxed. Thanks for sharing.