Classical music has a serious communication problem | Classical and digital music news | Scoop.it

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This week, in fact, the Royal Opera House will again open its doors to a group of homeless people. They’re not in the foyers and bars, but on the stage, performing in a production of Poulenc’s Dialogue of the Carmelites conducted by Simon Rattle. Next month the Royal Opera’s orchestra and chorus will join the communities who live around its production hub in Thurrock for a performance of Verdi’s Requiem. Engagement and “the public good” are priorities for even the most grandiose of arts institutions like never before. So why is the opera audience proving so stubbornly socially stagnant? I’d point at least one finger in the direction of an unlikely villain that has never really been properly dragged into the elitism debate: the total ineffectualness and inappropriateness of large-scale classical music advertising.  

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It follows the industry’s favourite  communicative norm: conceived by people who already love the art form for people who already love the art form.

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Via the listener