The Well-Tempered Ear

Will the public pay for online virtual concerts? Will you? Consider the fate of newspapers

August 23, 2020
4 Comments

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By Jacob Stockinger

More and more local classical musicians and music presenters are moving concerts and music-making to virtual online events, at least for the fall and early winter – and quite possibly for the rest of the season. (Below is Shannon Hall in the Wisconsin Union Theater.)

And although we are still waiting for details, it seems all but certain that many of them will be pay-per-view and require tickets.

True, the move from free streaming to pay-for-view might be very useful in helping performers earn a much-needed living.

But it could also be disastrous – or at least extremely disruptive and disappointing.

Anthony Tommasini (below), the senior music critic for The New York Times, recently wrote a long story defending the move from being free to becoming paid for both livestreams and pre-recorded music concerts.

Tommasini — whose profession demands that he follow wherever the music goes —  thinks it will, or should, work.

Here is a link to his story that includes concerts at The Metropolitan Opera and elsewhere with international stars such as soprano Renée Fleming (beow top) and pianist Daniil Trifonov (below bottom).

https://www.nytimes.com/2020/08/11/arts/music/classical-music-livestream.html

But The Ear isn’t so sure.

For one thing, many listeners might find alternatives. They might like watching outstanding performances of the same works by great and even historical performers on YouTube for free.

They might like exploring their own collections of recordings, or listening to the radio and watching TV, or even making more music as amateurs.

The Ear also suspects that now that the habit of going to live concerts has been interrupted, many people will simply find that they miss going to live performances much less than they thought they would – or than various arts groups hoped they would. (Below is the Wisconsin Chamber Orchestra in a photo by Mike Gorski.)

In addition, even since the coronavirus pandemic lockdown last March, listeners have become used to the free events that many organizations offered if only to keep a presence in the public’s mind.

The strategy was understandable and made sense at the time.

But The Ear thinks of what happened with newspapers.

In the early days of the internet, newspapers offered online stories for free, as a kind of extra attraction or added benefit to secure subscribers.

But as the newspapers lost both advertisers and subscribers and tried to “monetize” their online editions, they found that the horse was already out of the barn.

Many viewers did indeed subscribe to digital editions, but many others abandoned newspapers and instead turned to free online media for their news.

So what will happen in cases less prestigious than what Tommasini describes?

What do you think?

Will local pay-per-view concerts, perhaps with bigger volume if lower individual ticket prices, be successful?

Will you pay to “attend” such virtual online events?

The Ear wants to hear.


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Classical music: Newspapers and media continue to cut back on arts writers and critics. What is the effect on the arts?

January 14, 2017
7 Comments

By Jacob Stockinger

The Ear got a message from an old friend who gave him a link to a story about the decline of arts criticism in the mainstream media.

“This is not big news to you, but an interesting update that puts the value of your blog in context,” the friend said.

The Ear thinks that the cutback in arts critics hurts local performing artists and also hurts readers who consume the arts as audiences. That is especially important in a city as rich in the arts for its size as Madison. (Below is the Madison Symphony Orchestra playing for a full house.)

MSO playing

Here is a link to the article from the Columbia Journalism Review:

http://www.cjr.org/the_feature/arts_music_critics.php

The story earned an interesting response, sort of a constructive dissent from most judgments, from Anne Midgette (below), an arts writer and arts critic who used to work for The New York Times and now works for The Washington Post. Here is a response she posted on Facebook:

“There’s one thing missing from this thoughtful valedictory on newspaper arts writing – the outrage about cutting critics is all very well, but one reason they get cut is that they don’t always have the readership papers want/need (which can be quantified now better than it used to be).

“I think newspapers could help remedy that by putting in more resources and figuring out a strategy for raising the profile of arts writing (and I think arts writers need to focus on thinking about fresh innovative ways to write about their fields, but that’s another story).

“In any case, I think those of us who love the arts need to recognize this as a big factor in the cuts, rather than simply wringing our hands about living in a world of Philistine editors.”

Anne Midgette BIG

What do you think of Anne Midgette’s response? How would you like arts coverage changed and improved?

How good a job do you think the local media do in covering the arts?

What do you think about the overall reduction in arts coverage?

Have you found alternative sources for news and for information, and what are they?

The Ear wants to hear.


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