Detroit Symphony Experiments With Giant Video

The orchestra mounted two large video screens in its hall for a performance. “The concert was the first in the ‘Classics Unmasked’ series that marks a departure from the DSO’s traditional format. The new style aims to attract a generation weaned on television and stimulated by music videos and the Internet. For the first time, audience members in the farthest seats could see the angle of a violin bow as it hit a string or even the veins of a musician’s hands.”

Detroit Orchestra: Video As A Tool

Large video screens at the Detroit Symphony this week were intended not to be distracting. “We’re not making a TV show. Our mission is to reveal things to the audience that they can’t see, not broadcast the music. This is the society we’ve become. We want to teach people that it’s OK to take the time to listen to music, but we have to be willing to meet people where they are.”

The Invisible Canadians

From Dublin to Dresden, Barcelona to Berlin, performances by Canadian singers can be almost daily occurrences in Europe — and anyone determined to hear them all would soon rack up a lot of air miles. The not-so-good news, however, is that Canada’s contribution to this most European of art forms tends to go pretty much unnoticed: Like Canadian movie stars in Hollywood, our finest opera singers are often assumed to be from somewhere else.

Cologne Orchestra – Opportunity Or Exploitation?

Musicians of the New Cologne Philharmonic are freelancers and earn less than their European union colleagues. “While other major orchestras charge anything from $21 to $72 for a seat, the Cologne New Philharmonic has just one price — $24. It opts out of the familiar European formula of state support and job security, gets no state subsidies and relies on box-office receipts alone. The influential French and German musicians’ unions contend that his use of mostly Eastern Europeans at nonunion wages amounts to exploitation.”