How we hear

Frequently, the issue of orchestras not being "visual" enough for today's audiences comes up. Every orchestra is struggling with this issue, believing that somehow trying out something new, changing the format and the look of the concert experience, may make it more accessible and therefore more appealing to the casual concertgoer. The Cincinnati Symphony is experimenting with a video screen showing Paavo speaking informally about the music, played just before he comes onstage, for instance.

For years I've wondered why the orchestra's stage (and this is a general comment that applies to many orchestras) must look so bland, so poorly lighted, with its musicians just plunked down with little thought about presentation or theatricality. Not that it should look like the Pops, but I'm told there is lots that could be done with lighting alone to make a concert much more appealing.

Then there is the whole aspect of how the performers look onstage. Recently, the NY Times' Bernard Holland devoted some column space to singers (and pianists) who gesture and move too much for his taste. Certainly there are times when performers can distract from the musical message they are trying to impart, by using too much extraneous movement or even by wearing odd clothing. Frankly, I don't mind when the musicians in the orchestra move or smile a little as they perform -- in fact, it makes me believe they are feeling the music and expressing themselves. But orchestras today -- unless you play with Andre Rieu -- neither move nor smile very much.

And now for opera, we have surcaps, another visual element which has been a boon for opera companies and made the experience more enjoyable for us all. But recently on vacation, I was in Los Angeles where I saw James Conlon conduct Otello at LA Opera, and from my seat I couldn't see the surcaps. Of course, I know the story, so I only felt compelled to strain to see the text a few times. It made me realize how much I've been missing -- not only of what's happening onstage, but also musically. I heard this performance so much more vividly. Surcaps, I fear, have become a crutch.

I just stumbled upon some thoughts by Henry Fogel, president and CEO of the League of American Orchestras. I'll think you'll be interested in what he writes, as well as the comments, some of which are from musicians and music critics.