La Scala: 70% of our audience are under 55
NewsSovrintendente Dominique Meyer says the audience has rejuvenated substantially since Covid.
And the tourists are back.
He has told the board they have banked a $300,000 surplus.
Read here.
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The fact is that La Scala is living since 2015 a real new golden age like at the end of the 70’s when Abbado was working with an assistant called Chailly. Important in that success to talk about the Filarmonica in classical unfairly underestimated (I like so much the Duomo summer concert) and to Luca Salsi when he’s on stage. I hope that it will continues. But the key is of course Chailly I hope that he will be in good health and in good shape for the next years.
Maybe credit for the rejuvenation should be given to covid. Older people are more likely to drop precautions at this point.
La Rai made also a big effort with some concerts and operas fequently broadcasted not at 2am and on the web. And that don’t concern only the 7th of December.
Ooops, I mean younger people are more likely to drop precautions.
Sure, many of them are turists. And it seems there are less older turists nowadays
Got more money and time than us older ones where life has changed, and priorities on what we spend it it on have also changed. Cost of living and inflation absolutely gone through the roof in Britain.
54 exactly.
Not all Riccardos are created equal. The Riccardo in Milan spurs a new LaScala Renaissance. The Riccardo in Chicago does exactly the opposite, making sure that the average audience’s age is higher than his own and doing his very best to sink the CSO financially and send it back to the Dark Ages. One is focused on restoring LaScala’s its glory, the other is focused on afternoon “tropical excursions” sponsored by Osborn who does not care if Cathy is frowning upon this abysmal state of affairs.
Where will the audiences flock? That’s an easy one to answer.
Just off from a stupendous Lucia di Lammermoor at the Staatsoper in Vienna (Kaufmann: take care because Bernheim is arrived and will take your place sooner than you expect) and the audience, included myself, were 90% older than sixty. Out of the context (or maybe not) Argerich has cancelled tomorrow’s recital with Renaud Capuçon and will be replaced by Kantorow. Artist’s replacement are quicker than the public’s…
Kaufmann doesn’t sing Edgardo, thanks heaven for small mercies. Nor will Bernheim take Kaufmann’s place any time soon in anything. Kaufmann’s success was the consequence of his looks, looks Bernheim doesn’t have. Nor is Bernheim’s singing truly excellent – his top is occasionally constricted (as it was in Lucia), his Italian isn’t top (no double consonants), no dynamic phrasing and a rather monotonous musicality. For all his talent, Bernheim isn’t a belcanto tenor in my opinion, particularly Italian belcanto, neither in style nor in technique – his soft spot is French music written after 1880. Yet Bernheim is certainly preferable to Kaufmann from a musical point of view – Kaufmann’s top is _always_ constricted, his diction is _always_ mumbled, even in his native German, his Italian phrasing is non-existent and he can’t sing anything audible below mf to save his life.
And Bernheim sounds like a tenor. This clarification shouldn’t be necessary when one sings tenor repertoire but unfortunately it is in the New Brave World of the opera.
Great news, right across the board.
The audience has “rejuvenated” because it makes a good headline for Dominique Meyer. The crowd who attends certain performances just because they’re dirt cheap doesn’t make for a public seriously interested in opera, and I know for sure that even performances with cheap tickets for young people don’t sell out.
“Solo il 30% supera i 55 anni”
Is the above “news” worth a headline to the milano.repubblica.it?
Math lesson for Mr Meyer and Andrea Montanari. Life expectancy in Europe is about 80 years, give or take. Now guess how much is 70% of 80?
What percentage of the audience is 40 for less?