Whilst everyone in the arts talks about the problems with the present concert format, in fact there has been very little change. True, there are a whole variety of performance strands which take music out of concert halls, giving the format something of a shake up, though too often this can feel like little more than putting the audience on bean bags and playing them the same music but with distracting background noise.
But if you go to a standard concert hall, then the chances are that you will hear a standard concert. The Orchestra of the Age of Enlightenment (OAE), though, have designs on this and at a recent pair of concerts introduced changes with a view to making the standard concert format more friendly.
So OAE performers and conductors will be coming to the front of the stage to give informal introductions to the music being played. At Saturday and Sunday's concerts (at the Anvil, Basingstoke on 10/11 and the Royal Festival Hall on 11/11) it was conductor Marin Alsop who introduced the music, Brahms' A German Requiem [you can here the concert on the BBC Sounds website].
The OAE already has its casual strand, The Night Shift (next one on 27 November at Camden Assembly) which takes place non-traditional venues, and they have also introduced Bach, the Universe and Everything on Sunday mornings at Kings Place where a Bach cantata is combined with a science lecture in an informal setting (next one Sunday 25 November)
But this new move is an attempt to bring some of that casual element and informality into the concert hall by way of having a sort of spoken programme notes (I know from personal experience that audience enjoy this type of thing, having given spoken introductions to choral concerts that I participate in). The other big advantage of this is that it makes the conductors and players seem a bit more human.
Of course, it is not a new idea, but it is an interesting development to introduce it across a whole range of concerts.
Full details from the OAE's website.
Subscribe to:
Post Comments (Atom)
Popular Posts this month
-
Alexander James Edwards The tenor Alexander James Edwards has popped up on this blog over the years, whether it be singing Pollione to ...
-
Neil Gaiman I had been looking forward to Neil Gaiman's 'The truth is a cave in the Black Mountains' at the Barbican Hall, ...
-
Smetana Dalibor ; Dana Burašová, Ivan Kusnjer, Alžběta Poláčková, Richard Samek, BBC Singers, BBC Symphony Orchestra, Jiři Bělohláv...
-
Wagner: Rienzi - Last scene of Act3 at the Théâtre Lyrique, Paris in 1869 In a series of essays I will be looking at the influence of th...
-
James Baillieu (Photo: David Ruano) From this year, pianist James Baillieu and conductor/composer Ryan Wigglesworth begin a three-year tenu...
-
Mozart: Cosi fan tutte - Osian Wyn Bowen, Madeline Boreham, Paul Grant - Opera Holland Park (Photo: Craig Fuller) Mozart: Cosi fan tutte : ...
-
Angel's Bone by Du Yun and Royce Vavrek English National Opera at Aviva Studios, Manchester Du Yun: Angel's Bone - English Na...
-
The Tchaikovsky Papers; edited by Marina Kostalevsky; Yale University Press Reviewed by Robert Hugill on 20 June 2018 Star rating:...
-
The Gewandhaus at the Augustusplatz in Leipzig-Mitte with the Mendebrunnen at night (2016) (Photo: Wikimedia - By Ichwarsnur - Own work, ...
-
Britten: The Rape of Lucretia - Ellie Donald, Ella Orehek-Coddington, Pasel Basov, Viktoria Melkonian - Royal Academy Opera (Photo: Craig ...

This comment has been removed by a blog administrator.
ReplyDelete