For the culture industry, recovery from pandemic-era lockdowns has been a mixed bag.
In Europe, the Orchestre de l’Opéra national de Paris recently had to cancel a scheduled spring tour with its musical director, Gustavo Dudamel, because of financial pressures. In New York, the Metropolitan Opera announced a 10 per cent reduction in performances next season. The famed opera house is focusing on the development of new works as a way of reinventing itself and attracting much-needed audiences.
“People are out of the habit of going out, and I think that’s part of the problem,” says Alex Pauk, Esprit Orchestra’s founder and music director. “How do you break that habit? Through creating something actually interesting.” Recipient of a MacArthur “Genius Grant” Fellowship in 2011, Weilerstein has performed with a range of celebrated orchestras, including the Staatskapelle Berlin, the Chicago Symphony Orchestra and the New York Philharmonic. Pandemic cancellations forced her to contemplate the ways audiences might “connect with one another more deeply while preserving what we do well in the field of classical music.
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