And surely the least we could do is have a Simon Rattle souvenir mug?
For many music lovers, André Rieu, the
Dutch violinist and so-called modern Waltz King, is an irresistible attraction.
He and his orchestra, performing light, tuneful classics and crossover – are not
only about music, but also showbiz. They often top the classical recording
charts. And they’re loved, loved, loved.
Except in hardcore classical music circles,
that is. If you want to see a roomful of those administrators squirm, show them
a Rieu performance and ask what the orchestral world might learn from his
runaway success.
That’s what happened at the trade fair and
think-tank Classical:NEXT, held recently in Rotterdam, during a session exploring
business models for orchestras, led by Claire Mera-Nelson, director of music at
Trinity Laban Conservatoire of Music and Dance, and Mark Pemberton, director of
the Association of British Orchestras. Still, nobody could help noticing one
thing about Rieu and co: the audience. People of all ages having a great
evening out, maybe dancing, singing along, cheering freely, visibly feeling
welcome and happy.
Rieu, the charismatic focal point, talks to
them, introduces his music and musicians, ceaselessly communicates with his
public. And they keep coming back for more. Every aspect and every second of
the show contributes to that experience.
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| André Rieu Teddy Bear - from the Waltz King's merchandise shop |
This doesn’t mean copying his style, but
noting the way he achieves his aims from behind the scenes. “Rieu’s concerts
are filmed with multiple cameras,” Claire Mera-Nelson points out, “and most of
them are on the audience. They then analyse the reactions in minute detail. If
something doesn’t play well with the audience, they never repeat it.” Rieu’s
success is all about setting out to understand his audience and making sure he
gives them a good time.
The UK’s orchestras have become comparatively
good at inventing innovative ways to attract different attendees and shake up concert
formats; earning money is more vital for them than for those in European
countries that still offer more sizeable state subsidies. Yet even now you’ll notice
some orchestral musicians slouch on to the platform apparently with little
understanding that they are performers the minute they’re on stage. That’s just
one basic mistake that Rieu’s players don’t make. For the crucial two-way
energy between performers and audience to ignite, the very least the latter
needs is a smile of acknowledgement from the former.
Moreover, the audience’s experience does
not begin with the first note of music. It starts as soon as they arrive at the
hall – and it’s then that you need a sense of occasion, a welcoming ambience, ease
and efficiency of finding refreshments, cloakrooms and loos, comfortable seating
both inside the hall and in the foyers, and much more besides. Rieu’s audiences
wave flags, sport merchandise and participate by purchasing these – either online or presumably at the event – thus acquiring a sort of personal stake in the goings on. It
might look like tat, but its effect goes oddly deeper. You mightn’t want to
wave a flag in a Mahler symphony, of course, but if the LSO were to start
selling Simon Rattle mugs when he becomes music director, I’d happily take one
home.
Instead, UK concert venues often exude the
enervating, impersonal ambience of railway stations or conference centres. Even
regulars dislike this, so how offputting must it be to newcomers? I don’t mind
admitting that I attend some venues with a sinking heart on every occasion, however
marvellous the performances they host. And art-focused orchestras and concert
halls could address all these matters without sacrificing a jot of musical
integrity.
The biggest names – Daniel Barenboim, Simon
Rattle or Jonas Kaufmann – will always sell out. But such stars are few in
number; the rest of the time, to create that great night out that keeps people coming
back, matters beyond musical substance must contribute to making the audience feel
welcome, happy and part of the event.
“The atmosphere, the welcome, the whole
package is what we’re offering as ‘entertainment’,” Mark Pemberton points out.
“You have to focus on the audience. We so often focus on the art – yet we are
so dependent on the people who go to hear us play! What are we doing for them?
It’s time for marketing departments to look at the qualitative aspects of their
experience.”
This issue is not going to go away. Today musicians have such intense competition for people’s leisure time that unless they understand what works – and do a bit more of it – punters may vote with their feet. Those wanting a head start must find new ways to know their audience, and know them well.
This issue is not going to go away. Today musicians have such intense competition for people’s leisure time that unless they understand what works – and do a bit more of it – punters may vote with their feet. Those wanting a head start must find new ways to know their audience, and know them well.
