Are candelight concerts killing the real thing?
OrchestrasMusicians in western Canada are getting restive about an eruption of gimmicky Candelight Concerts that are threatening to steal their audience.
Here’s a commentary by the Organisation of Canadian Symphony Musicians:
by Tamsin Lorraine Johnston (Regina Symphony oboist and OCSM 2nd VP)
Even if you haven’t performed in a Candlelight Concert, you would have had to go to a lot of trouble to avoid their advertising on social media. These classical-music adjacent experiences engage local musicians using Listeso Music Group, Inc. The similar Italian musical term L’istesso, meaning the same as before, succinctly describes Listeso’s business model of cloning concerts.
Listeso Music Group runs a tight ship. They are a thoroughly corporate classical music agency specializing in “connecting top local string quartets directly with clients.” By hiring local musicians to perform in otherwise identical Candlelight Concerts, Listeso takes advantage of competitive regional markets, especially those with talented and motivated pools of symphonic musicians, and applies a glossy uniformity.
Naturally, times are tough and musicians need all the work that comes our way. So why the big deal? The larger concern is how Candlelight Concerts are disrupting the entertainment ecosystem created and defended by non-profit organizations with deep roots in their communities….
Read on here.
I think that they need competition. They have got their marketing down to a ‘T’ for their specific target audience. Why can’t orchestras learn from that?
Concert halls and especially opera houses in the past, always used candle light, and most of the time they went up in flames.
Durham Cathedral’s putting on Tina Turner by candlelight, and they’ve previously done Ed Sheeran. I, for the life of me, cannot understand who the audience for these shows is – it seems like the worst possible mishmash of styles.
Oh, and the candles are fake – it’s LED candles.
At least LEDs are more
economic being reusable, unlike the wasteful way Kasper Holten’s “Tristan…” at the ROH (2014) used something like 12 dozen real large Church candles per performance. LED ones were available then, and beyond the first few rows of the stalls, or boxes near the stage, no-one would have discerned the difference. The candles could then have been used in other productions for years.
During Tristan’s and Isolde’s torrid affair, they only had candles, so probably it was an authentic production.
No they are not. When I play and emcee a candlelight concert I regularly ask the audience how many in attendance have been to a string quartet concert before. Out of several hundred people maybe a few raise their hands. I doubt it’s helping or harming the classical industry other than providing another outlet to perform for freelancers and paying a decent rate.
And to be quite honest the audience is more appreciative and in better spirits than the average chamber series I play on.
Completely agree with you. And could even be a gateway drug for going to other concerts.
They are the McDonald’s of classical music (except for the price). Whatever the quality, they SELL.
They have been ding candleight concerts in NYC for a number of years. It gives gig musicians a chance to perform. They tend to perform well known works in churches that have less seats than the standard New York City concert venue. They are also doing symphony concerts by smaller regional groups playing major works with light shows. Frankly, whatever it takes to get people in to hear good music, more power to them. The traditional solo concert performers who can’t bring in an audience better study what they are doing and figure it out on their own, or get on board, or they will be left in the dust.
But some quartet payers do turn to Candlelight for bread on the table. I attended a Candlelight concert and members of the Dover Quartet were performing and it wasn’t Tchaikovsky. It was non classical Pop. I think they do need the money because the MC was doing a gratuity competition to see who can give the most tip money. Begging, if you ask me. Also, you don’t see members of Juilliard or Emerson playing at these Candlelights because they get paid enough.
now that quartet is full of drama. I am getting married this year and was reluctant to invite one of the members. the reason is I heard that the first violinist was complaining about how poorly the cellist’s wedding was planned and wasn’t a great wedding ceremony in Washington State. I do not want him talking about my wedding like that.
Best is that quartet members marry among themselves. It solves a lot of problems.
oh yes, the nice bald guy who was MC! I was present! He was a very good MC and loved getting tipped! He said they need the money!
oh yes! I play with the MC cellist in freelance groups in Philadelphia! He’s also principal cellist in the opera I play in. He sadly was not tenured in the Ballet Orchestra due to personality reasons so the MC also needs the money as well.
As someone who worked in the business – what’s stopping “traditional” ensembles from considering audience experience as part of the programming? The business needs some innovation. Stagnant programming = stagnant audiences.
“Are CCs killing the real thing ?”
Well uncomfortably for those of us who feel above all that, the CCs are part of the real thing. Commercialised, packaged, commoditised, yes. But they are still music. And if they attract audiences, create enjoyment, create jobs – at least of some sort, then we should not be so quick to reject them.
Seems like a North American phenomenon, here in the UK we don’t see “candlelight concerts” as a threat. The most recent one in our town featured a late night performance of Peteris Vasks (3rd quartet), brilliant intense music making. The next which I have just bought tickets for promises something atmospheric and original, saxophone, soprano and organ.
The ones at St. Mary-le-Strand are nothing to sneer at. Last week they did the Mozart Clarinet. A friend who travelled to it from Yorkshire said it was years upon years since he had had a chance to hear it live.
If all it takes to outcompete you is a few led candles out then maybe consider what you’re doing? Maybe get some of your own instead of whinging? A lot of the music audiences like was written under candlelight to be played under candlelight so what would be the issue?
Indeed. In fact, most of the existing regular repertoire has always been candlelight music. JS Bach ruined his eyes with it. When electric light became generally accepted and used, contemporary music began to slip down. For instance, when you listen to Boulez’ works, you clearly hear the cold fluorescent lamps reflecting from the sounds.
It’s a shame that the success of this approach is being viewed so negatively by some.
The pay to musicians is very good, the audiences enjoy the shows. That should be sufficient.
The ‘gatekeepers’ of classical music don’t like it.
That makes me an even bigger fan…
This could be actually fun to play! What a concept!?! And also a gateway to other experiences. Maybe hire interns to hand out flyers for other concerts to people leaving these concerts!