With little or no access to live audiences COVID-19 has forced classical music into the digital age. And there’s no going back, says KEITH BRUCE
In the way of familiar journalistic overuse, the phrase “the new normal” was very swiftly denuded of any meaning, but it has been clear for a while, even to those most blinkered about the effects of the Coronavirus pandemic, that long-term change is upon us.
For those who earn their livings in the arts there was an immediate huge short-term worry, with venues closed and performances cancelled because of the safety restrictions necessitated by the health emergency, and earnings abruptly curtailed.
At the same time, it was impossible not to be heartened by the outpouring of creativity that the situation precipitated. An online performance will never produce the same visceral thrill as the joy of hearing music played in a shared space, but the technology available at relatively little cost enabled talented musicians to produce work that could not be replicated in the recital room, multi-tracking themselves into large one-person groups or becoming a close-harmony ensemble without the help of even other family members.
Working in enforced isolation on opposite sides of the globe, new partnerships were forged as existing ones were maintained and expanded, digitally.
Scots and Scottish organisations have been inspiringly dynamic in much of this. As Nicola Benedetti told VoxCarnyx of her own education foundation: “We were always wanting to move things online, and it was almost as if we were gifted an opportunity to push forward with that.”
At the Royal Scottish National Orchestra, recently-arrived chief executive Alastair Mackie had been equally clear that the RSNO needed to embrace the possibilities of the digital future, before anyone had heard of COVID-19. Beginning with fun and games for young people and home-shot party-pieces by players, the RSNO plundered the cache of filmed recordings in its own recent archive to keep the orchestra’s output in the public eye.
Alongside the Benedetti Foundation’s video diet, the National Youth Choir of Scotland was also swiftly out of the blocks with a huge range of music tuition films for all ages and abilities, at the same time as it found ways of allowing its young choirs to meet online rather than cancel their school holiday sessions.
That education work became an early indicator of one of the other upsides of the enforced move to digital – its global reach. The Benedetti Foundation had not had ambitions outside of the UK, and the work of NYCOS, even with its network of area choirs across Scotland, stopped at the border. Now both found they were teaching, and receiving feedback from, young people around the world.
This, of course, raises funding questions as well as opportunities. Scottish Government money, business sponsorship and parental support sustains organisations like NYCOS for the particular benefit of the resident population – is it fair and desirable that parents from elsewhere are able to tap in to that resource?
These are the sort of questions that will have to be asked as the months of living like this stretch on, another acceleration of a process of digital adaptation that sits oddly with the sensation that life has slowed down.
With its current digital subscription season, the RSNO is in the forefront of testing the market. Salvaging some elements of the season it had already announced, as much in the commitment of star soloists as in repertoire, its series of ten concerts, pay per view at £10 each, with a pound-a-gig discount for booking the season, will be easy to do the maths with at the end of the run. Having its own new technology-ready venue to use, where the required space for playing under the current restrictions was available, has been crucial, as will be the loyalty of the orchestra’s live-music-starved fanbase.
Another thing we have learned from the pandemic is that jokes about silver-surfers and inter-generational adaptability to online platforms are so much patronising nonsense. “Usually our web audience skews much younger, but this time the older audience were equally engaged,” Edinburgh International Festival director Fergus Linehan told Vox Carnyx in a recent interview.
For the time being the Scottish Chamber Orchestra is still broadcasting its concerts free, with an appeal for donations, which is the model many other organisations have adopted. Scottish Opera, which has also been a pace-setting organisation, has also made its high-quality offerings available for nothing so far.
The opera company was way ahead of the game. By sheer good fortune, it had a brand-new opera film, The Narcissistic Fish, already shot, edited and scheduled to show when that became the only game in town. Swiftly following it with a superb version of Menotti’s The Telephone for the online Edinburgh Festival, it then brought the Lammermuir Festival to a close with a filmed production of Janacek’s The Diary of One Who Disappeared, from the stage of the Theatre Royal in Glasgow.
When it was briefly possible, the opera company also leapt into the breach with live offerings – three compact Pop-Up touring shows (also free) and a fine La boheme in the car-park of its technical centre, for which the paid-for tickets were probably under-priced, given the demand.
Although the Janacek was free to view – and is still available – Lammermuir was another important Scottish experiment in pay-to-view. Through its partnership with BBC Radio3 about half of its concerts, all from a church in Haddington with no audience, could be heard free, but watching the recitals online required the purchase of a £5 ticket, with a £33 season ticket available for all 12 of them.
A lot of supporters bought the passes, and the box office attracted around half the number of individual bookers the festival would expect, for fewer than half the number of concerts.
What astonished James Waters, who co-directs the festival with Hugh Macdonald, was the spread of the audience, from Switzerland, Bulgaria, Japan, Canada and the USA as well as across the UK. “How did they know about us?” he asks. “We had a vanishingly small marketing budget.”
Echoing Nicola Benedetti’s observation that recent experience has shown the long lead-times in classical scheduling to be non-essential, the Lammermuir online festival was given the go-ahead on August 3 and launched on August 20. Ticketing for the broadcasts proved straight-forward and communication with the online audience went more smoothly than Waters had expected.
The final sums have not been done, but the lessons of the digital experience are clear to him, even if it is possible to return to the previous model of live performance next year. “It would be unacceptable for us not to do something online next year. We’ve learned so much, and it might even pay for itself.”
It will surprise no-one who has experienced this increased digital life in Scotland that Waters reports some issues with establishing a solid, fast broadband connection for the concerts, which effectively dictated that the recitals were filmed and then broadcast “as live”.
That has become the usual model for the orchestras and smaller ensembles too, but there is a huge variation in the amount of lighting and post-production work that comes with digital broadcasting, and for some the nearer the experience remains to the raw live show the better. “If we’d had more time to think about it, we’d have had the chance to cock it up,” notes Waters sagely.
That distinction between “live” and “as live” also explains why the BBC SSO has not been shown to best advantage recently, with genuinely live broadcasting – at which it has so much experience – twice coming embarrassingly unstuck. And the BBC, as if it didn’t have enough problems at present, is the body that faces the biggest, and most pressing questions. Having had a virtual monopoly on live classical music and opera broadcasting in the UK for so long, it now has an obligation to share that playing field with a whole new league of competition.
When organisations need to gain revenue from their music through online broadcasting, can they continue to give the same product away free? Are streamed Wigmore Hall recitals, subsidised by the associated Radio3 broadcast, taking market share from ticketed chamber music? Should the BBC Scottish have delayed its season-opener, when it was clear it was going to hit the ether at the same time as the Scottish Chamber Orchestra’s Quilter Cheviot-sponsored gala with Nicola Benedetti started their programme of concerts?Such questions, or ones very like them, will require answers in the months to come. Whenever the health emergency ends, and even though the return of shared experience in the same space cannot come too soon, there will be no going back to the musical diet as it was before.