Pause before you judge the Classic Brits

Journalist Paul Morley didn’t like the Classic Brits awards, that much is obvious from the extend rant he penned for new classical music blog (run by the former editor of Classic FM Magazine) Sinifini Music.

Morley’s blog is a tough read if you’re not already a member of the particular choir he’s preaching to or unfamiliar with the chintzy, saccharin awards ceremony, but the post does have its supporters including the reliably adorable Jessica Duchen and pianist James Rhodes whose straight-from-the-heart blog contained more expletives than I’ve seen in a long time on the Telegraph website. Go him.

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Opera really doesn’t need to be made to look ‘cool’. It is already.

London E2

The ENO launched a new marketing campaign on Wednesday. ‘Undress for Opera’ aims to make nervous young hipsters to feel more at home inside the Coliseum by encouraging them to dress as they please for their visit. Terry Gilliam appeared in a video about it. Damon Albarn was even drafted in for the press launch as well. Is there anything he won’t do?

The campaign has been met with a chorus of disapproval and some tsks from the stalls. A few in the upper circle have sucked their teeth in as well. Read More

Safeguarding the future of classical music

Former US critic Greg Sandow’s Four Keys To The Future blog post is gaining traction on the internet. In the post, Sandow condenses the genre’s future success down to four simple directives:

  1. Know what your potential audience is doing and what motivates them
  2. Be where your potential audience is – don’t expect them to come to you
  3. Be yourself
  4. Be vivid

What’s interesting about Sandow is that he’s writing primarily about the art form and those who produce performance. But like he says, the rules extend to even those who advocate the genre.

It’s good to be reminded of the basics from time to time. But, is that reminder also an illustration that not as many arts professionals understand the fundamentals as much as we assume they do? And given that things are increasingly tighter for arts organisations on both sides of the Atlantic, do we need to spend a bit more time on the fundamentals?