How to sell every seat in the Royal Albert Hall
NewsThe American singer-songwriter addressed his audience last night after the opening number, thanking each and every one of them for coming to his concert. The hall, apparently, had sold out within 24 hours at prices between £40 and £75 on official sites.
Lambert likes to stay close to his audience, some of whom mouth every word that he sings. The demographics were pretty much the same as the BBC Proms – middle-aged and upwards, with a leavening of gay couples. The difference was that everyone dressed up for a night out, as distinct from shabby Proms gear, and quite a few jumped up, waved arms and danced in their seats.
This was not my usual kind of gig. Lambert, 41, is a Freddie Mercury stand-in with Queen and has sold five million albums of his own songs. His repertoire was mostly ballads, delivered at high volume in a tenorial baritone voice with a backing group of two guitars, keyboard and drums. The whole set lasted just over an hour and the atmosphere was celebratory, achieving intensity and intimacy with a 5,000 crowd.
Backstage, the vibe was relaxed and low-key – none of the obsequious hyper-congratulations offered in classical green rooms nor any heavy overlay of security. Just a sense of having shared music at a very high level of performance and an air of gratitude for the experience.
Classical music – not to mention the Proms – has much to learn from this kind of gig. When did you ever hear a conductor or recitalist thank the audience for coming?
Yuja Wang has managed it for BBC Prom on 4th August. Just try Rachmaninov.
… along with her gowns from Maison Worth …
Many classical performers prefer to let the music speak for itself, and many audience members agree (Slipped Disc comments sections are full of people complaining about artists and managements making political statements in concerts — where such statements are made before the advertised programme has been performed in full, I agree with those complaints). But when a classical performer *does* address the audience — either because he/she wishes to introduce one or more pieces in the programme or because he/she has performed the advertised programme and is about to offer an encore — he/she often *does* thank people for coming. If you want a couple of models of good practice for how classical performers can address audiences effectively, listen no further than András Schiff (for an example that is available for free on the world wide web, try https://wigmore-hall.org.uk/podcasts/andras-schiff-explores-haydn ) or Jean-Efflam Bavouzet, both of whom are exemplars in the art of introducing works, composers, and programmes in a sophisticated, entertaining, and eminently accessible manner.
He never said a word when he walked out at the Proms a few years ago to play one book of the 48, and I found it quite a boring and passionless recital as well!!
You could always try Havergal Brian’s Gothic Symphony. That doesn’t leave much room for the audience. It was sold out at the Proms a few years back.
Also the RPO under Vasily Petrenko sold out the RAH for Mahler 8. The RPO’s James Bond concerts sell out.
So there are a few options.
I was in it with the BBC Singers as an extra the first time at the Proms in the 80s or early 90s.
Frequently, especially at smaller and more intimate venues and in festivals.
A good point, Norman. Kazuki Yamada frequently takes to the mic and addresses the audience at CBSO concerts. He’s genial and welcoming as well as being a fine conductor.
Following on from an energetic yet moving performance of Beethoven’s 9th symphony, Sir Georg Solti was recalled to the podium several times by the applause. He eventually raised his arms to quieten everyone down and then said “Thank you – Now please be good and go home!” Cue cheers and further applause! Sadly, that was in 1996 and he died the following year, just before his Prom performance of Verdi’s Requiem (Sir Colin Davis stood in for him).
I was at a sold out Boston Symphony concert in April when Andris Nelsons thanked the audience for attending.
Al well and good spouting on with a microphone in classical concerts, but what about those who weren’t there!? How to get them in.
I have zero interest in Adam Lambert and would never have read this had you not cleverly omitted his name from the opening para and his first name from the article entirely. Very ingenious way to get people clicking, Norman!
Me too. Didn’t even know who he was. Now I know, and have watched the OTT You Tube video, I won’t seek him out again. I also wonder how many punters suffered hearing damage too!
Never heard of him either! Not my Fach! Hahahahaha!
Barenboim, July 2013, Proms, Wagner’s Ring cycle.
In particular he thanked the audience for being so quiet and attentive.
Yes, and the dreadful heat wave outside and worse heat inside in the hall. Someone should have thanked him for conducting and those singers for getting through it all.
“with a leavening of gay couples”
How can one tell whether two blokes together are a gay couple? Were they kissing all the way through?
Were there no gay singles to lpeaven the audience?
You don’t need an interest in Adam Lambert to be interested in the issues discussed in the article. It’s not that difficult.
‘Shabby Proms gear’? Each time I see someone wearing shorts and an ancient cagoule to the Proms it makes me shudder. I’ve always found it strange that the orchestra is formally dressed whereas some audience members feel it’s appropriate to look like they have just come off a camp site …
When did you ever see a soloist or conductor doing titty shake?
P.S. referring to the last pic 🙂
When have you been last time at a prom,or a classical concert in general?Virtually every proms conductor or soloist thanks the audience for coming when announcing the encore.And not just at the proms.Actually every time a guest soloist comes…happens all the time.