There was an interesting panel discussion about the future of classical music at Eastman this morning. I especially appreciated the comments by Professor Robert Winter of UCLA. (Haha - not many students attended in person as this kicked off at 10 am on a Saturday morning.) I was hoping the livestream was also recorded and I’ll post a new link if I can find it, but at least you can see the panelists at the link below. Not too many solutions, but lots of ideas in terms of responding to changing audiences. https://iml.esm.rochester.edu/events/the-future-of-classical-music-in-america/
I would be interested in seeing it!
When we moved to Maine 32 years ago, I was worried about the future of classical music because when DH and I went to concerts, we were one of only a few young people in the audience. As the years went by, though, I kept seeing the same thing! It’s still true today. Not sure why.
Classical music and opera haven’t been our “go to” options for a fun evening out, but my husband and I are trying to learn more about it with a college student studying opera. I recently met a young man - 24 or 25 - who was a season ticket holder for our local opera company and I about fell over. He had learned to appreciate opera from his parents but I think that’s a rarity these days.
What exactly is the meaning of “classical music.” Does this refer to an historical period, or to any form of serious concert music? There are many, many composers working today to create “new music” which is sometimes called “contemporary classical,” with a broad array of aesthetics. Orchestral works and opera are not the only genres, of course, and many composers focus on ensemble works. There are also performances in all kinds of venues, including living rooms, warehouses and parks. In some places, these kinds of concerts DO draw young people, but traditional donor type attendees may leave in a huff 
I would be curious what this panel had to say. It would seem to be a slightly conservative group
I’m sorry the panel discussion wasn’t recorded … and I’m not well-versed enough to try and rehash the overall commentary. There was some discussion of reaching out to new audiences in new venues, homes and night clubs, etc. Someone mentioned the Houston (?) Orchestra as being on a good path in terms of engaging new audiences. A comment that the orchestra is less concerned when people applaud between movements than other patrons. Some limited discussion of outdated opera narratives. Some discussion of unions and what responsibility the performers had for bringing in audiences. Discussion about diversity in performing arts high schools and community music schools.
Of course, a lot of positive comments on many new initiatives and reasons to be excited about the future, and of the many paths, beyond performance, that current students may find themselves on.
This was not a “sky is falling” discussion in any sense but an acknowledgement that times are changing. I got the impression that this was the end of a multi-day event and it just happened to pop up in my Facebook feed.
This is “opinion” and “impressions” from my D’s experience so … there may be some truth to it or not.
Often in college, it seemed to me, the focus was narrow…the opera stage or nothing. And honestly there always seemed to be a bit of a sneer or an attitude that you really can’t make it if you try to branch off (with exception of my D’s UG teacher who told me D to ignore that attitude and still cheers her on). This attitude stifles attempts to do other work by classical vocalists bc you may seem not fully committed. And while colleges “analyze” and “discuss” it no ones seems inclined to “change” to the realities of a very tight market.
I felt these overall attitudes presented young classical vocalists with an “all or nothing” attitude. Remember only a few make it … so I always found it strange that “other opportunities” were rarely discussed. Returning students had always hit the big time. Students working in other capacities in performance were never a part of panels of “successful” students. Yet that’s what happens to MOST! Even when you leave college you are presented with a narrow path of shoulds and should nots (with no consideration to money) all in the hopes that at 30 you can support yourself. I honestly find it very removed from reality.
HOWEVER leaving academia has been a breath of fresh air. My D has had a lot of interesting opportunities and is grateful for the intense music study. She has performed opera in parks (with a group who gets a grant yearly to mix opera with rock (like Springsteen) and theater - they use the theme of an opera and write an original show and mix in some rock music to attract the masses…they also serve food). She has performed opera in bars (Speed Dating - a contemporary opera) and in schools and nursing homes through outreach programs. With one group she is helping with arranging and cuts to the music and perhaps some stage management in the future. The music director who has been mentoring her a bit is conservatory trained…and told her the first year to “go wide” in performance due to tight, uncertain markets.
Still how would a professor at a top school view these “accomplishments”. How would some parents? Think about this story as you decide to spend big bucks on a music degree: My D is now in MT rehearsals (which you’re not encouraged to do if you want to be in opera - my D doesnt think she’ll hit the big time soon so she’s unconcerned) and they asked who could roller blade. My D loves to roller blade. Almost everyone raised their hand. Then they asked who would be willing to do it in a bear suit. Only she and a guy raised their hand. She got the part as the roller blading teddy bear! Would a classical music school highlight this? Lol.
And…don’t worry…I’m quite secure and proud of her. She’s booked through the year…and does a lot more than the teddy bear part. I point it out to illustrate how difficult the issue is. To get people to spend the big bucks, you shoot for the moon in all capacities…right? Who wants to give in to the middle ground? What should the schools do? I don’t know how to build the opera mkt fast enough for all the students graduating. But I will say you should be willing to sing in schools, nursing homes, parks, homes, bars…and maybe even a bear suit…if you want to be a working classical vocalists. Btw my D thinks the part will be great fun. She was surprised more people didn’t want it…
I love your post @bridgenail! Especially from the perspective from the parent of a kid who will be auditioning for VP programs but has no real aspirations of being an opera star. I know a number of young working musicians who are happy and productive that are performing in unconventional ways, and arranging music, and composing, and starting or running non-profits or small companies, and doing outreach and teaching. I love that! It’s important work and I wish our society valued it more. I love that opera and performance art doesn’t need to be elitist. I also wish colleges would embrace what being a modern musician looks like for many and work to really prepare young artists to also be collaborators, entrepreneurs, organizers, grant writers, etc. Or at least I wish more programs had flexible options in this direction.
My kid visited one school with a strong music program. The whole school screamed “we love smart multi interested students that want to tie their interests together”. And then my kid had a lesson with a teacher that basically said “You’ll do opera and you’ll love it”. My kid sings classical and is prepared and happy to work in classical for undergrad. Having a teacher that has an “opera forever or die” attitude is not going to go over well. This is actually a good time for me to be reminding him college is not forever. It’s about learning a skill set and applying it how you want in the real world. You can learn other skill sets too by getting involved in other ways. We’ve had many conversations about the real working musicians and performing artists we know and how they’re piecing it together.
I think I know what park opera program you are talking about. It’s so fun and fabulous! It’s one of the things I think of when I think of young artists getting out there and being creative and bringing art to new places and audiences. Our vocal teacher did it a few years ago. My kid would give his left arm to be a singing rollar blading bear! Too fun! Not everything needs to be Tosca at the Met to be worthwhile.
Thanks for the timely post.
Very interesting thread, and I too love @bridgenail’s post! How refreshing!
I went looking on Youtube for the Eastman discussion, hoping that someone had recorded it. Sounds like some of the same conversation that our school (conservatory high school) recently discussed at a parent coffee with the administration. Anyway, I found a link to a TedX talk at John’s Hopkins; I enjoyed listening and thought you might be interested: https://www.youtube.com/watch?v=YI_CRssv2xA
Houston is indeed a huge city with an extra large chip on its shoulder due to their huge size and very little recognition. This means they are aggressive and take more risks as a rule, and their outreach programs and new takes on old ideas are quite excellent.
But for music and the future of classical? So Cal is where it’s really happening now. Cutting edge groups, lots of experimentation, clashing and merging cultures, and an absolute sea of raw talent to be found. I’d rate the overall vocal music scene as slightly ahead of New York at this point. And opera is having a resurgence as well, with new modern operas being created at a rate which is quite amazing. At this time, there are over a dozen brand new operas or opera hybrids coming up in the Los Angeles area alone. One of my favorite recent productions was a couple of years ago when a local group did The Fairy Queen set in modern day Las Vegas. Hilarious doesn’t even begin to describe it. Puck was the fat nightclub owner, There were three couples, the punch was accidentally spiked, and everything went south from there in over-the top Vegas style. They also made use of the orchestra and audience at times, completely destroying the 4th wall.
Absolutely brilliant.
So, yes, it is alive, just a bit different than most people imagine.
Great TED video as well, uptick.