The future of classical music

La Traviata

2009 Seattle Opera production
Dress rehearsal clip

I read an interesting article in the BBC Music magazine this month about the future of classical music.  It described how symphony and opera organizations are struggling to connect with the next generation of concert-goers as our demographic slowly slips down into the basement to listen to music from the comfort at home. Ha.

The arts organizations are trying to attract new audiences without antagonizing their old supporters.  According to the article, for every person who wants to see concert programming move with the times, there are others who consider the concert hall and the core repertoire a "sanctuary of tradition in an ever-changing world."  Performing Mozart in a nightclub setting with tinkling glasses and chatter? Without the undivided audience attention, isn't music reduced to background entertainment?

Another trend catering to our brief attention spans is shorter programs without intermission.  For example, La Traviata is typically a 3-hour opera experience. The production we saw yesterday was condensed down to 1 hour 45 minutes without an intermission, about the length of an average movie.

Opera etiquette, however, is still different from movie theaters (there's no running out for popcorn) so sitting perfectly still that long is tiresome for some of us. And I missed the people watching, conversation and our tot of wine at intermission.

 La Traviata

2016 Seattle Opera production

We haven't seen a production done with traditional sets and costumes since Aidan Lang became director of Seattle Opera. Even the opera story is often changed to make it more "relevant" which seems kind of rude to the composer and librettist. But that's just my opinion.

In fairness, Lang has a tough job attracting an audience for the next 20 years. You have to give him credit for trying and the local arts reviews and responses have been favorable. Seattle is changing and the seats are filled with people who seem mostly enthusiastic.

Before we go to each opera, we always listen to Lang's educational podcast. We enjoy them. He described how boring period sets and fancy costumes can just detract from the music and story in Traviata. Really? Those "frills" might be the very things that enhance and make the total opera experience so grand and unique. At least for some of us.

What a difference from the 2009 Seattle production. The set consisted of a red curtain and one chair.  John quipped they must have saved a lot of money. The performers were dressed pretty much like the audience.  Oh yes, Violetta is a strong, liberated woman, instead of a pitiful but sweet dying girl.  This new Violetta wore a red dress or frumpy pants and combat boots. Talk about distracting.

And despite all that, the exquisite music Verdi wrote in 1853 endured and came shining through. That must be the definition of great art.