Birmingham rows back on concert changes
OrchestrasEmma Stenning’s start as CEO of the CBSO has been turbulent. In her latest message she tries to calm things down.
Here goes:
We began this process in November last year with a statement that set out some of our thinking for the future of the CBSO, alongside a promise that we would listen to feedback, and share our next steps with complete transparency. This is the next step.
We’d like to begin by thanking everyone who has taken the time to send us their carefully considered thoughts – the response has been genuinely extraordinary.
We have received many messages of support, communicating a mixture of excitement and relief upon hearing that we are planning to push forwards, purposefully in search of a wider audience. There were genuine, heartfelt, messages of concern too, from those who felt that these promises were potentially at the expense of our loyal long-standing patrons. On reflection, we ought to have more clearly communicated that our cherished supporters are as much a part of our future as those who don’t yet come, and we are taking steps to put that right.
Showcasing the highest quality music is at the heart of everything we do, and with over 100 concerts in any given year, there is most certainly time for us to celebrate the fine traditions of the classical repertoire, as well as taking moments to be daring or experimental.
It’s not an either, or.
We said from the outset that this was a period of exploration, and at our concert on 13 December we tried a number of new things. The audience were invited to meet with key creatives for a relaxed discussion before the concert and we gave a welcome from the stage encouraging a tone of informality for the performance. We also trialled a set-up of screens that allowed us to portray images, title cards, and live close-up footage of our players, alongside designed lighting, and moments of movement within the orchestra.
It’s clear from the responses that different aspects of the performance resonated with different people, which was always bound to be the case. For some, the more visual aspects of the concert were thrilling, for others they were a distraction. For some, feeling free to clap between movements was liberating, for others, entirely unwanted. For us, the point is that we’ve committed to a period of trying and learning – and this was the start.
Having listened to the breadth of feedback, here is what we’re doing next:
We will continue to develop an enhanced welcome for every CBSO event, and to programme more exploratory concerts. These concerts will form a thread within seasons that otherwise entirely celebrate the established traditions of our artform.
We will clearly communicate, well in advance, the specific dates of these particular concerts in the 24/25 Season so that audiences can choose when to come.
We will stay in dialogue with our current audience, potential future audience, and our industry – continuing to read and review every bit of feedback and share our reflections and learnings (although we may not be able personally to respond to every email we receive).
Our next creative collaboration takes place at our Youth Orchestra’s performance of Mahler 5 on Sunday 18 February. Rehearsals are already underway, and it’s been incredible to see the enthusiasm and openness from the young musicians. We hope to see you there.
Free Event
CBSO VISION: IN CONVERSATION
If you’d like to be part of this ongoing conversation, we’re hosting a free in-person event at the CBSO Centre on Wednesday 28 February from 4.30-6pm. Please join Cath Arlidge (Violin, CBSO) and Emma Stenning (Chief Executive, CBSO) for an informal conversation, followed by time for questions from the audience.
This lady has no idea where classical music is ‘about’. She tries to ‘push forward’ etc. etc. as if she is at some olympic sports grounds. But classical music is about sitting still in your seat and focus on the sound, and the players are also supposed to sit still and work on their musical production for which there have been many rehearsels, also sitting still. All of her attempts fo find new audiences could be better invested in educational projects beyond the context of the concert format, simply that.
No, sorry, that is YOUR idea of what classical music is.
It’s valid but don’t propose to speak for everyone.
A very strange comment. Like: science is not what scientists think that science is, it is just their own opinion. Or: painting is not what painters think it is, but only their own opinion of it. Or: grocers think that they know what their shop is but that is merely their own opinion of it. Or: socker is not what the players think it is, but what they THINK that socker is. Where does such ‘thinking’ come from? It is a fruit of misinterpreted democracy, and postmarxist/postmodern ‘thinking’, the idea that there is no reality but only opinions about reality, and that any opinion is, in principle, as valid as any other. So, classical music is what people think it is, and any opinion goes. In the same way we can decide that 2 + 2 = 5 which is as valid as any interpretation.
In other words, John Borstlap knows the whole, single, undeniable truth, and anybody who disagrees with him is wrong. Glad to have my belief confirmed.
Socker?
It all depends upon the question, whether the author of any saying is an expert in his/her field or not. When I need dentistry, I go to an expert in the field. Whe I go to a restaurant with friends, I make sure it is a real restaurant and not a street food snackbar. When I go to an orchestral concert, I make sure that the orchestra is a professional one and not made-up of street players or the local amateur brass band. It is not so difficult, really.
This returned John Borstlap does not sound like John Borstlap. I think an account must have been hacked.
You were talking about the classical music concert experience. I think that is what Joan was responding to. Groceries are, yes$, groceries, but the shopping experience may vary by store. Maybe we wouldn’t pick your store.
Yes, I know, it’s difficult, and that is why it is good that occasionally a comment is met on this site which invites for a little bit more thinking.
Stenning acts like a spin doctor. And her text reminds me of a word that rhymes with rowlocks. She should move on now. It’ll only get worse.
I bet you complain about how awful ‘cancel culture’ is, yet want the cbso boss to leave her new job because of a few concerts a year, that you don’t have to go to.
I attended the ‘experimental’ concert presentation in December and appreciated that the CBSO’s management were trying things out – some of which worked, and others which were distracting. It’s laudable for them to be thinking about audiences for the future, and heartening and reassuring that they realise there’s a loyal audience too that they don’t want to alienate.
They’d have cheerfully tipped the latter down the drain if they’d been able to.
Evidence?
It’s all out there, you are free to research it.
I very much doubt it, but given the over the top and fragile response to a just couple of concerts, I wouldn’t blame them!
You have posted a dozen comments here, so it seems that your reaction is a little “over the top” as well.
My issue is that it may be some time before The Eroica Symphony is performed again at Symphony Hall so if audience members wanted to hear the piece without the distraction of assorted images of “heroes”, and projector cooling noises etc. then they have been let down.
I have no problem with trying new initiatives to widen appeal but this gimmick seems a bit desperate.
In the same way we can try-out classical music on bonobos and see whether they are open to become the new audience of the art form.
I hear from my PA that even her relatives have recently discovered classical music and they love it – Star Wars.
Thank you for a balanced and thoughtful response.
I have no specific knowledge of the CBSO experiments other than what I’ve heard/read (here and elsewhere) so will instead share a more general observation that diversity/broadening initiators may be starting to rethink their agendas. However well-intentioned, some – even many? – of these initiatives strike at the heart of classical music’s very essence, and thus run the real risk of alienating our core audience. I recently became aware of results from a statistically significant survey on audience views surrounding diversity in the chamber music field which apparently revealed extremely strong pushback. Perhaps it is time we come to terms with (dare I say proudly celebrate?) what the artform actually is, and which audiences enjoy it. Classical music is a vitally important thread within a very broad cultural tapestry. It need not be all things to all people, has always appealed to a relatively small segment, and that’s just fine. Ensuring we are as welcoming as possible to everybody is absolutely critical, but radically redefining the nature of what is on stage is a path to oblivion.
‘It need not be all things to all people, has always appealed to a relatively small segment, and that’s just fine. Ensuring we are as welcoming as possible to everybody is absolutely critical, but radically redefining the nature of what is on stage is a path to oblivion.’
That is about the best answer on this vexed issue that I have ever seen. And accepting it would also accept that some people with other cultural preferences are entitled to pursue them rather than classical music, because there are many musics.
Twisting classical music into a corkscrew is not going to produce very good music.
Classical music IS niche. The problem is, how it is going to be paid for. The wokies are pushing a diversity agenda that is prepared to sacrifice quality in the interest of ticking boxes, which is ultimately doomed, as nobody is going to be satisfied.50 an hour
And, for the umpteenth time, the only way to diversify the audiences, which would in the end lead to more diversification on the stage and in management, is with education. Getting music back into the schools opens it up to people who cannot afford £50 an hour to teach their kids an instrument.
At the VERY least, music appreciation courses as part of teaching in civilisation and culture, with demos from orchestras during outreach, and school trips to the nearest orchestra or opera or ballet house. At least that removes the stigma of exclusivity that still hovers around classical music.
But from what I have read in recent years, the British education system, which used to be the benchmark for the world, is in such chaos now that music is a long way off. A whole generation, maybe two, will miss classical music. Let’s not perpetuate it.
Good points, but even if ‘education’ and ‘appreciation’ is fixed tomorrow, it’ll take a generation or two for audiences numbers to see the difference. What do we do in that time? Just keep doing what we’ve been doing and hope people turn up?
Of course.
The sad thing is that Emma actually ISN’T rowing back. They are going ahead with more of these ‘exploratory concerts’ and she’s failed to accept the blindingly obvious reality that her concept and vision JUST DOESN’T WORK. The words ‘tone deaf’ spring to mind: sadly she just doesn’t seem to understand her audience or her artform, and every word we hear from her sounds jargon-laiden, corporate and false, a world away from the sense of understated excellence and deep love for the music which we were used to under Edward Smith and Stephen Maddock.
What does she mean when she writes about “creatives”, and about “sharing our learnings”? Has the response really been balanced, as her cunningly worded statement suggests, between those who loved and hated the concert last month? (Almost everyone around me in the Hall that night felt that it was an unmitigated disaster, so I suspect she’s being a little disingenuous to say the least).
The CBSO has built up an incredibly strong support base over recent decades and its Members give millions of pounds in donations each year as well as buying tickets. Until a few months ago most of us absolutely loved our relationship with a special organisation, not only the wonderful musicians but also the friendly office team and of course Stephen. That sense has vanished, and the support base could very quickly evaporate with Emma’s insensitive, clueless and headstrong new management style. I know I am not the only supporter considering withdrawing this year’s donation and I’ll be spending next year’s ticket money in Manchester, Leeds or London rather than at Symphony Hall. The board would do well to get a grip before it’s too late.
I know Stephen Maddock has a lot of fans on this site, and that’s fine (though in my opinion not always completely justified). But could “Troubled Supporter” or someone else provide a bit more detail on how he might accurately be described as “understated”?
Good grief. “..get a grip”, it’s a few concerts a year. Why be so dramatic? Are there seriously people changing their opinion about the orchestra just because of a few concerts? Don’t go, if you don’t fancy it.
Those few concerts could lose a lot of supporters
The issue with these experiments is that they are built on a basic premise of being able to bring in lasting, sustainable audiences. But making a venue more attractive, more “cool” through external gimmicks which have nothing to do with the music itself won’t accomplish that goal. It may at best be a temporary fling. These audiences which do not have an appreciation for classical music to begin with won’t develop one, at least not a lasting one, simply because of “enhanced welcomes” (whatever that might mean) or by making venues less “stuffy” or “intimidating,” as we often hear in these silly arguments usually being made.
In a way, I almost feel for these executives — having to sustain an art form in the midst of a general culture ever declining towards the lowest possible common denominator. There are many factors involved here, the most important of which perhaps being a general lack of musical education, a consumerist attitude that veers towards sheer philistinism, and an ever decreasing attention span in the midst of a digital culture that constantly interrupts our mental life through constant updates, notifications, and the dopamine stimulated through the constant expectation of experiencing something new (and often trivial) every few minutes. That last aspect is perhaps the most pernicious of all.
I do believe that there still are pockets of people who long for something different and more substantial and who do have a genuine appreciation for classical music. Perhaps these executives should focus on one simple thing: high quality programming performed by first-rate musicians. Such an idea doesn’t appeal much to them. First of all it’s expensive, and most importantly it’s not in keeping with the prevailing ethos in managements. Presumably, such a
conservative idea is simply something of the past — we are not coming back to this outdated equation of financial success with the sheer quality of the product, although strangely whenever the programming is of high quality, performances are sold out (and would still be even if the price were higher in my opinion). In my experience, such executives eventually find themselves working elsewhere, as they probably should have been all along. The issue might be the recent tendency, in arts organizations, to hire upper management that should have nothing to do with music to begin with. Most of them are not just clueless, but often dangerous to the very organizations they are entrusted with and often end up damaging them from within.
A superb summary
having to sustain an art form in the midst of a general culture ever declining towards the lowest possible common denominator.
Therein lies the rub. Jumping on the bandwagon to enhanced mediocrity is the worst thing these people could do. Offer high quality and people will come – if only to flee the superficial rubbish that pollutes their everyday lives.
Correct assessment.
In my own experience, music organisations (orchestras, opera houses, chamber music promotors) are mostly run my manager types who don’t have enough understanding of the art form and its reception by audiences, lack knowledge of its history and cultural contexts, and try to run it as a business, or as a restaurant without understanding what’s going-on in the kitchen, and while taking their own dinner elsewhere.
One of the reasons for this development is the pressures of bureaucratization: in former times, it all happened much more improvisatory and small-scale. Read the memoirs that have been preserved and are still accessible. So, it is understandable but deeply deplorable.
This simpering, mendacious management-speak makes me want to vomit.
I have read this latest statement from the CBSO: the comment above (“spin doctor”) about Ms Stenning’s carefully worded statement is correct. I would go further and say it is clearly equivocation. She is sugaring pills and ducking issues all over the place, and if she thinks that we are not intelligent enough to see this, then she is mistaken. It is probable (and the comments on Slippedisc suggest this, as do the number of fellow punters I have spoken to in the Hall) that the majority of people are not in favour of what happened. I want to know (and shall be asking at the forum) exactly what that balance/percentage of opinion was – please note that Ms Stenning emphatically side-steps giving that detail. Notice that she starts her statement with comments about positive feedback. I have yet to hear any of my fellow punters say anything positive. Ms Stenning will press ahead regardless with all this: the phrases about “listening to opinion” are mere fobbing-off and lipservice. (Though, like many people in these management positions, I suspect they actually believe their own empty platitudes – HR departments all over the country spout this vacuous nonsense). Like other comments above, I applaud the sentiment of wishing to bring in audiences and fill the hall: who could possibly disagree with that? But a big NB: Ms Stenning completely fails to address ANY of the specific criticisms which many of us pinpointed – the weakly-imagined pictures, the noise of smoke machines, the time-delay on the live-feed (as real baddie, this – and any director worth his salt at a tech rehearsal should have sorted this immediately) – NONE of these things are addressed; and at no point is she prepared to say, “we got some things wrong” – perish the thought. Just as I predicted, there is a stubborn and sclerotic attitude under the guise of “friendly consultation” which will not be moved, despite protestations. You watch. Notice, incidentally, the “This is not an either / or” – in other words – my way or the highway, says Ms Stenning. CBSO – you need to get together as a body and act. We should guard against personal and ad hominem attacks – they are not useful – but something needs doing before it is too late.
First I’ve heard of this. I wonder why. I hope you aren’t going to make the same mistake as the BBC and dumb down in the quest for a wider or younger audience. You run the risk of losing the audience you already have. E.G. Applause between movements is not a good thing, and unnecessary. If it ain’t broke ….
It is broke. Audiences are dwindling.
CBSO tries one new concert in a small attempt to bridge a gap between their Pops concerts and regular audiences and people lose their minds.
It is not broke so DO NOT TRY AND FIX IT
After 30 years of attending we were appalled by the ‘pop; concert effect in December. A huge distraction to musicplayed. PLEASE PLEASE DO NOT REPEAT
I have tickets for the “next creative collaboration”, otherwise known as Mahler’s 5th, on 18th February. I hope I have no cause to be worried. We do not need screens, smoke, introductions from the stage. Please do not mess with things that do not need to be messed with. It’s called dumbing down.
Of course, that concert is being performed by the CBSO’s youth orchestra – 100-odd brilliant young people who’ve found their own way to playing Mahler 5 without any need for visuals, or interpretive dance, or whatever. That’s your future of classical music right there – intelligent, committed young people being given access to great art on its own terms.
As much as any of us, I want to see classical music, and the appreciation and love of it, flourish.
For years we’ve all been trying to find ways to encourage others to join us in the excitement that classical music can offer. We all want a new audience to come along, if nothing else as part of a “succession plan” to replace us older folk (I’m rapidly getting there).
Take a look at the Cathedral Music Trust. I feel that it’s doing a good job at promoting the joys of Cathedral music-making, at a time when it is under some pressure. With its ambassadors, Alexander Armstrong and Anna Lapwood, the Trust have credible and pretty mainstream names, who understand what they are trying to protect and promote (and in a variety of ways), none of which seem to have prompted folk to race to their computer keyboards in disgust, or give up on their visits to places of worship.
Has the Trust suggested that, to help people enjoy/understand the music, there should be videos of folk eating pork pies during a performance of Vaughan Williams’s “Oh Taste and See” in Salisbury Cathedral? Have we seen footage of Herdwick sheep scampering over hills and dales accompanying the choir of Derby Cathedral singing Handel’s “All We Like Sheep”. No.
So, to create or grow an audience for the future, perhaps the CBSO could find, appoint and exploit some viable ambassadors. Perhaps the orchestra should push the fact that Kazuki Yamada is as much a great guy as well as a fine conductor. It should make people aware that the orchestra has at least three enthusiastic golfers, a food lover or two and some cricketers, in its ranks…and they are also fine musicians.
If I was on the Board of the CBSO, I’d be asking the CEO about:-
a) The basis on which these multi-experiential concerts have been created;
b) Evidence of success of similar projects elsewhere;
c) How success is being measured (both financially and in terms of reputational impact) by the CBSO;
d) What she is doing to ensure that concertgoers can actually access Symphony Hall, when planners seem to have made it so difficult to do so with the most recent iteration of the development of Birmingham city centre.
Let’s see some empirical evidence that justifies what still seems to be an ill-judged attempt to gain an audience that probably doesn’t know that it is being pursued.
Incidentally – if there are lots of positive comments on Ms Stenning’s venture – where are they on this website? I have seen about three – compared to many more condemnatory or critical ones. If that is an indication of proportion, then Ms Stenning’s comments are deliberately misleading at best and untruthful at worst. Nah: this is all Doublespeak, Ms Stenning. And you know it.
Do you really expect positive comments on this website when it comes to initiatives to attract new audiences to classical concerts?
Yes, I do.
Then: music is exploratory.
Now: trying to figure out how to present music is “exploratory.”
Meanwhile, it spite of all this utter balderdash from the CEO, the music goes on and the orchestra is a wonderful gift that keeps on giving. A quite sensational concert tonight, for example. The force of nature that is Maxim Emelyanychev (on debut, I think) striking up an instant rapport with them and giving fresh and almost frighteningly exciting performances of – of all things- Beethoven 5 and the Hebrides Overture; stellar Mozart performances from two soloists drawn from the orchestra; a brand new work which is no masterpiece but was interesting, approachable and well integrated into the programme; and a wildly appreciative audience including plenty of young people. No spoken words, no visuals. Why mess around with something that is already so excellent, so life-affirming and so massively appreciated by many, many Midlanders, native and adopted, who have been taken for granted and offended, but will keep on coming back while the music-making is so magnetic.
Well said, Cornishman. I am looking forward to the repeat programme in 4 hours’ time. Unadulterated.
I’ve just been to it
An excellent concert including I’d say the most exciting and exhilarating Beethoven 5 I’ve heard It captured what it must have been like at its premiere
The orchestra was on wonderful form
Here was a concert without gimmics captivating a rapt and enthusiastic audience with quite a few young members
I’m aware new things have to be looked at but as the old saying go’s if t ain’t broke………
I was there too. Completely concur. Dazzling Beethoven.
I went to the matinee performance. It was my birthday, and what a terrific birthday present it was – the review by Norman Stinchcombe was spot on. As others have already said ‘If it ain’t broke, don’t fix it’.
And it also included a dynamic and diverse composer Simon in its rather clever programme. without any fanfare or spiel. It just worked artistically
It is broke, that’s the problem. New audiences aren’t coming.
“..Quite a few young members…” is hardly going to packing concert halls in 10/20/30 years time.
If you attended regularly you would see many younger people in the audience. The conservatoire is close and students attend from there, the CBSO has just opened its Academy, many ofthe orchestra visit schools to encourage children to take an interest in the music so why turn a concert hall into a fairground?
What precisely is broke? Have you told Kazuki, the CBSO orchestra, the Birmingham Conservatoire, the Birmingham Royal Ballet, the Birmingham Opera Company etc., that they are pedalling broken goods? I think this is at the root of the disagreement between the new management and the current loyal CBSO supporters. We, the latter, do not consider classical music in Birmingham to be broke. It is ironic that the concert on December 13th was one of the best attended concerts I have witnessed recently. Those who had booked tickets for that concert in advance were unaware that the concert would, with only two weeks warning, be enhanced with a ‘visual accompaniment’. Those sitting in the choir had to be re-seated in the Grand Tier where the noise from the projectors drowned out the quieter bits of music.
We all acknowledge that audience numbers have to be increased – the Covid years certainly had a damaging effect on audience numbers in all aspects of he arts (and cinema, etc.). We have to work hard to encourage more concert goers for this we all have a responsibility.
I was at the ‘experimental’ concert in December. Appalling. What was delivered had all the creativity of a poorly conceived and executed GCSE Art and Design project. All the flaws that ‘Lloydie’, above, pointed out – the weakly-imagined pictures, the noise of smoke machines, the time-delay on the live-feed – were awful and detracted hugely from the performance of the music. I have written to the box office and advised them that I do not regard such presentations as fit for the purpose of delivering a classical musical experience and if CBSO put on such a juvenile show again without notice at the point of buying my tickets – which is what happened at the December show – I will demand my money back. The CBSO needs to tell the concert-going public what they are in for before they buy tickets. Then let the market decide. For myself, I will copy ‘Troubled Supporter’ (above) and take my custom elsewhere. For over 15 years now we have travelled over 120 miles there and back to enjoy the wonderful experience of music in the (genuinely) world-class Symphony Hall. And we chip in to support music in Birmingham. Music, note. If this ill conceived rubbish continues, we’ll be off.
As for Emma Stenning, her self important march onto the stage before the December concert to tell us what a treat we were in for, says it all. She doesn’t know what she is doing. But (as Mr Keep It Simple, above, says) the responsibility ultimately must lie with the CBSO Board. They appointed her, they must police her. They have a duty of custodianship which includes careful oversight of any hare-brained plan the CEO comes up with.
But take solace. The performance space is accoustically one of the best in the world. It will endure.
Thanks for your support. The more people who say this the better. The one thing I agree with the management on is that we need to encourage full attendance and lots more young people: that is right and utterly laudable. I have been taking young people to the CBSO for 40 years and attended myself since I was 11 – when I was enthralled. And so have the young people been whom I have taken – it has “stuck” with them. What we need are good ideas, education and not gimmicks and ludicrous light shows. We need constructive dialogue – but I fear we will not get it from the management, who seem tone-deaf to its audience and see us as reactionaries and fuddy-duddies. This is quite clear from the subtext of their response. I do so hope they will listen and not push ahead regardless. The next concert where they plan “things” is Pictures at an Exhibition in May… I am unsure what to do – I am reluctant to attend (I have tickets booked) but I do not wish to let down the orchestra I have loved and supported for 53 years. I am still annoyed that Ms Stenning has addressed no specific criticisms at all. A refusal to admit error. PS: – don’t write to the box office – communicate directly with the CBSO on feedback.
It’s not all about you. Big deal, you didn’t like what was done in one concert. It’s a few events a year, get over it.
I agree with one thing: the performance space is one of ths best in world, but it won’t endure if the orchestra has no audience in 20 years.
I am impressed and encouraged by the quality of debate in this comment thread. I agree with so many of the points made. What I think worries us all so deeply is that one of our most outstanding and successful cultural assets is being defaced by people who think they know better. That these people should have been appointed to senior positions within the CBSO management passes all understanding.
What do you suggest should happen to attract new audiences that have zero relationship to classical music? Just keep on doing what has happened for 30 years, keep your fingers crossed and hope they turn up, before the money runs out? That’s exactly what’s happened, it hasn’t worked AND the money has almost ran out.
I’ve been a CBSO concert goer for the last decade (and either Friend or Patron of the orchestra for nine of those ten years). I’d simply rather see my money spent on advertising and promotion to engage with the vast majority of the population of Birmingham who don’t think about visiting one of the greatest concert halls in the world (Symphony Hall) and listening to the orchestra that the hall was built for. The product on the stage is perfect – we just need to get better at selling it.
It’s clearly not quite as simple as that. Can’t you see that these concerts, just two or three a year, might be a stepping stone for those who have never been before?
Stenning’s public statement today at the ABO conference that we should just stop reading slipped disc and other classical press only highlighted how much she does not care or understand anything really
Do you remember her exact words?
If this is truth, it’s common sense and not controversial. If you are attracting a new audience that has no or little relationship with classical music (as previous audiences have) it might be good idea for those running the show, to get out of classical music echo chamber. Selling and impressing audiences is much more useful than just classical music peers.
The CBSO already perform extensively beyond the concert hall, reaching out into local schools and communities in a variety of ways, even part sponsoring a brand new secondary school with a music specialism in West Bromwich. We don’t need superficial gimmickry to bring in new audiences of any demographic. What is much needed is a properly funded state education that is not purely utilitarian in outlook – ie education for work – but instead recognises that the arts in very sense of the word are of just as much significance as STEM subjects. Witness the success of the El Sistema music movements around the world, encouraging young people to engage with music no matter their background. Even if they don’t pursue music in later life, the foundation for appreciation, and of the skills involved will have been laid.
‘showcasing’, ‘key creatives’, ‘trialling’….we know when we’re heading towards a dead end with this kind of language. The act of ‘listening’ to music requires some effort..it can be pleasurable, painful, distressing, comforting, exhilarating, liberating according to repertoire and if the music itself (usually written after great effort) is not sufficient in itself to attract an audience then no amount of added soufflé will do so. The CBSO has rarely faced a more perilous time with both Council cuts and a management team indifferent to core principles.
Classical music is about individual, interior experience. Potential new audiences have to be lured away from their addiction to modern gadgets which draw them out of their interiority into the world of evanescent impressions of the world outside, to meet their own inner Self. So, quite the opposite of that this lady with the oversized glasses seems to think.
First three sentences, a solipsistic philosophy of classical music. Some might disagree, but a valid if narrow viewpoint. Final sentence, a cheap personal attack unworthy of you.
I see the Mahler 5 played by the CBSO youth orchestra will feature lighting movement and some sort of dramatic interpretation to reflect the funeral music in the first movement and the loveletter to Alma in the adagietto I shall go out of interest I just hope this great symphony isn’t reduced to a circus act I shall be open minded I wonder what Jac Van Steen will make of it I heard yesterday a couple of loyal CBSO supporters returned their tickets for it Watch this space
I hope so to. However, I’m sure the youngsters will enjoy it, and will be enthused and warmly received no matter what.
Good grief. Seems many have been ‘triggered’ by the cbso’s idea. What a bunch of snowflakes.
What the hell is wrong with adding these new concerts once a quarter? Why is this so controversial? It just sounds like the idea wasn’t communicated particularly well to regular concert goers.
The cbso have Pops concerts that bring in a different audience to the Regular concerts. Regular concert goers can choose if they go to these. Simple as that.
These ‘New’ concerts are a mid-way option for new audiences, sitting between the Pops concerts and regular symphonic concerts.
Pops audiences may be tempted to the New.
Regular audiences may be tempted to the New.
If the New is marketed well locally, audiences who haven’t been either the Pops or Regular concerts maybe tempted to the New.
How people can’t see this is beyond me.
I understand that what was sold was not delivered, hence the feedback. Whilst the ‘CBSO reserves the right to alter programmes and artists without notice’, it would have been good PR to inform ticket holders of the change of format and offer a full refund or ticket exchange.
As you suggest there are many market segments (new and existing audiences) to target, and each segment will value different things, hence one product or format will not suit all.
“What the hell is wrong with adding these new concerts once a quarter?”
Basically not much really – in my view anyway. This whole storm could have been largely avoided if Ms Stenning hadn’t shown such abysmal judgement – a very worrying sign from someone in such a position – in the way she’s gone about it.
If instead she’d initiated a new, clearly delineated sub-series like this at the launch of the next batch of events (potentially from as early as summer ’24) there would have likely have been a bit of eyebrow raising and that would have been your lot.
It’s a perfectly valid experiment, and potentially a valuable one especially if real effort was made to identify a target demographic outwith the current core audience, heavily market it directly at them and then make attempt to measure the direct results on attendances and the bottom line, evolving the concept further in response.
While I can’t speak with authority for anyone else, as a member of the current core audience my instinct is many of us would support this even when it means a corresponding reduction of a few conventional concerts over a season. We’re not blind to the financial and erratic attendance issues.
It’s quite right that like many orchestras, the CBSO puts on various formats of events, film music, family concerts, music from shows, whatever, for nominally different audiences. There’s no reason in principle why augmented performances of core classical shouldn’t be added if it reaches an audience, especially new one.
I say all this as someone who hated what was put on in December – not just because of the epically banale concept in itself, but because the execution was frankly a bit shit. Maybe another attempt would be less so.
The real problem remains – the arrogance betrayed by Stenning’s decision to retro-bodge this lot onto what was sold (and well-sold on its own terms before any of this) as a normal concert. Just like with the upcoming ones where they’ve got the same retro-bodge in mind. This is basically sticking two fingers up at most of the current audience and while that might just be woefully poor judgement on her part rather than a deliberate attempt to provoke, she’s lost an enormous amount of goodwill overnight as a result.
This is beautifully put, if I may say: it IS abysmal judgement, and my basic complaint is that the evening showed dreadful tech and imagination. I went with an open mind – to support and to want to like it. I left with an open mouth at the staggering ineptitude of it all. If they insist on doing more of these – then fine, let’s see if they pull in loads of newcomers – and don’t isolate the rest. I just hope they don’t display the same ghastly tech/ideas – late feeds, smoke machines, inane pictures… What also galls is the COST. No-one will tell us what it was, of course. Though someone should ask at the public meeting – though she won’t say, I bet. You are right about the arrogance and the goodwill: she could have had masses of goodwill when she started and she has lost so much. Does she care? – my way or the highway?
After attending for over 30 years I feel that the change of management has not improved the CBSO in any way .
The attendance at concerts hall is almost back to pre-covid levels with very few seats unsold.
The slight drop maybe due to the increase in ticket prices and travel to the hall. Many have less disposable income and have less time for leisure.
Our visits to concerts involves a long journey, an overnight stay in a hotel and food. As all these costs have risen we have had to cut the number of concerts we attend this season. We do not want to change our support but the December concert certainly made us think about this.
I had never heard the Don Quixote and think that without the ‘pop’ concert atmosphere I may have enjoyed it but the flashing lights, dry ice, screens and the orchestra bobbing up and down certainly spoilt my evening.
I hope that Emma and the management will reconsider the future and continue to attract the younger people by more suitable methods, The CBSO has recently opened the Academy and many of the orchestra visit schools to introduce children to classical music. Stephen is now at the conservatoire and I am sure he will promote the concerts.
However you also have to remember that the more mature among us have supported the CBSO for many years (financially and in other ways) so don’t throw us in the garbage bin yet
I now hear from the CBSO that the next concert (Pictures at an Exhibition – 1st May) which was supposed to have featured visual spectacles etc, is now not. I have emailed to ask for clarification, but that’s what seems to be the case.