I’m thrilled to see some of the top orchestras in the U.S. finally announce their socially-distanced plans for the 20-21 season! “It’s been a tumultuous year” is one of the greatest understatements ever, so anyone in the arts and live entertainment industries who has come up with a plan to successfully pivot is to be applauded. This month, I recently perused various news releases coming out of storied institutions and saw a shocking disparity between some who were able to really move forward with a fall season, but some who could not for a plethora of reasons. As I want to see what’s working and evaluate how these ideas can be implemented for current clients, I’ve selected three of the major U.S. A-list orchestras who seemingly have figured out a way forward this fall despite in-person restrictions. Here’s how The Cleveland Orchestra, Philadelphia Orchestra, and LA Phil are pivoting.

Broadcasts from the Concert Hall: The Cleveland Orchestra and Philadelphia Orchestra

It’s so exciting to see what’s happening in the orchestra world where vision, resourcefulness, and a huge amount of persistence are employed. Both The Cleveland Orchestra and Philadelphia Orchestra have released statements on how their fall 2020 season will occur. First, it’s inspiring to see they will actually have a season, and secondly, it’s vital that it’s digitally-based and pre-recorded. 

Cleveland hasn’t listed specific concert works and artists yet (as of writing this), but I’m assuming this will be shortly forthcoming. On the complete opposite end, Philadelphia is brilliantly launching a robust season, considering the circumstances, and have announced headliners like Yefim Bronfman, Emanuel Ax, and Branford Marsalis. 

In both cases, it remains to be seen how the financial model is sustained. I’m not delving into that here, but assuming the financials work out, they’re really doing excellent work to meet people at home particularly from a branding/stay-top-of-mind mentality.

Classical Music Goes Cinematic: LA Phil

I’m a big fan of combining a multi-sensory experience within classical music, and the LA Phil seems to “get it”. They’ve embraced their entertainment-driven city—Los Angeles—and have announced “SOUND/STAGE”, which launched on September 25. As their site says, it’s a “new online compendium of concert films and interviews, essays, and artwork that offer deeper insights into the music.” They’ve pulled on different film directors, plus their A-list conductor Gustavo Dudamel to make it happen.

There will always be many people detracting from these modes of orchestral performances—from all three examples above. But has anyone ever considered that this could also open up classical music to a wider, younger audience?

If you work in classical music, you’ve heard this too many times—lowering the median age, declining ticket sales, etc. But what if we suspended all of that for a moment and just thought about the possibilities of a digital concert season? I’ve shared my thoughts on this in a previous piece, but the main point is, “what’s the alternative?” If we can’t meet in-person fully and safely, what happens to art music? What happens to artists who inspire us? If organizations don’t pivot in drastic, digitally-focused ways, they will most likely close. 

Obviously, I don’t want that just as much as you don’t want that. So, let’s get off our seats and make something happen that’s forward-thinking. And who knows, in the process, we just might find we reach a wider audience and a younger demographic.

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About the Author

Jonathan Eifert is the founder and publisher of Classical Post, which is a brand of Gold Sound Media—a creative agency specializing in digital marketing for classical music.

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