Concerts at unusual venues signal cultural shift in classical music
In a vibrant setting at the London Transport Museum in Covent Garden, concert pianist Vusala Babayeva performed Gershwin on a baby grand piano amid the lively sounds of children and food chillers, showcasing how classical music is finding new venues beyond traditional concert halls, reports BritPanorama.
The audience, composed of families and visitors, varied in their engagement with the performance. “Whoa, that’s amazing,” remarked one adult, while others enjoyed the music as they moved about the hall. Bridget, accompanied by her three-year-old son Joshua, appreciated the unexpected musical experience, noting its refreshing quality outside typical concert environments.
Elizabeth McKay, the museum director, commented on the mixed audience expectations, with many arriving unaware of a musical event. “It’s not the Wigmore Hall, but visitors’ faces light up when they hear this music,” she said, emphasizing the initiative’s appeal. The concert is part of a broader cultural shift where classical music is increasingly performed in accessible spaces, reflecting changes that commenced during the Covid lockdown.
This transformation has been accelerated by Arts Council England’s (ACE) funding strategy implemented in 2022, which included controversial decisions such as the defunding of the English National Opera. This restructuring pushed many classical musicians to seek new, unconventional venues for their performances. ACE’s chief executive, Darren Henley, articulated a new vision for classical music, highlighting the importance of making performances accessible to diverse audiences. “There’s amazing repertoire with amazing performers… both are completely valid,” he stated, advocating for a democratic approach to music.
Despite initial resistance from certain segments of the classical music community, many artists have now embraced this evolution. Kerry Priest, a programme producer at Oxford Contemporary Music, noted that financial pressures and a desire for broader audience reach have inspired artists to explore atypical performance locales.
Musicians like Sarah Small, who toured the UK by bicycle, have discovered the unique engagement of playing in unexpected venues, such as a ferry stuck in fog. “It’s more interesting as a performer to play to an audience who have never seen my instrument before,” she shared, emphasizing the accessibility of such settings. However, her tour struggled financially, highlighting the challenges of sustaining art outside funded frameworks.
Meanwhile, in pubs like the Lamb and Flag in Oxford, artists from prestigious backgrounds perform informal concerts, creating an inclusive environment for audiences typically priced out of classical venues. Attendees at these events reported enjoying the high-quality performances without the financial burden typically associated with classical concerts.
However, challenges remain. Ralph Kennedy, CEO of Without Walls, explained that artists must adapt their performances to fit the unpredictable nature of public venues, including factors like shorter audience attention spans. He underscored the need for artists to be prepared for shifts in their normal performance environments.
For Babayeva, performing at the museum requires adjusting her program to fit a more casual setting. “I play shorter, more famous pieces because people love familiar music,” she explained, adapting her artistry to the context of unconventional audiences.
The current state of classical music in these varied venues presents a mixed picture. While it provides income opportunities and engagement for aspiring artists, it raises questions about the artistic richness compared to traditional concert settings. Ultimately, the ongoing evolution reflects a new parallel ecosystem where classical music is more accessible, yet it also grapples with distinct challenges and experiences.
