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Theater and orchestra in corona mode: streams as a model for success

2021-02-13T09:25:23.137Z


Filmed performances and concerts for the Internet were born out of the Corona emergency. And yet the streams are turning into a model of success - up to 60,000 users are involved.


Filmed performances and concerts for the Internet were born out of the Corona emergency.

And yet the streams are turning into a model of success - up to 60,000 users are involved.

  • Theater and orchestra reach a significantly larger audience through their streams - even if they are only perceived as a compromise.

  • The Bavarian State Opera reports up to 60,000 views for evenings with Jonas Kaufmann.

  • Special case of the Munich Philharmonic: They sell their productions on to broadcasters and commercial portals.

A bottle of wine is welcome.

Then the snacks that are draped on the living room table slide better.

Real professionals work with a large screen, projector or sound system.

All of this is documented in social networks, the images are regularly received before the transmissions from the temples of the muses start.

Streams, the enjoyment of art with a click, are now part of the regular slipper cinema program, and not just for fans.

A successful model, even if it was born out of a Corona emergency.

The figures reported by Munich's cultural institutions alone speak for this.

Although there are some who are generous with the data.

Others, such as the Kammerspiele, only provide brief and general information on request, perhaps you don't want to be naked when it comes to quota.

What is certain: the theaters, orchestras and organizers reach a significantly larger audience, also on an international level.

For example,

Bayerischer Rundfunk

reports

“frequent calls in the four-digit range” for its BR Klassik portal.

You don't want to give an average value because everything is played out over several websites or social networks.

“Music stays: Stars in the living room” with Jonas Kaufmann and Lang Lang delivered top values, and there were around 15,000 views here.

In general, according to BR, online use has become increasingly popular, from 2019 to 2020 it has increased by 28 percent.

Institutional streams can only be compared to a limited extent

The institutions cannot be compared directly.

This has to do with the various portals that are broadcast and with habits: BR Klassik streamed concerts even before Corona, and the State Opera also broadcast its premieres in this way.

So some are more established, also more technically experienced, others had to break new ground due to the pandemic and condition their audience.

Some also ask for money, others never or only after the first broadcast.

There are also different terms.

The streams can be accessed at Gärtnerplatz two days after they were first broadcast, some productions by the BR Symphony Orchestra even for several years.

And yet there are impressive numbers.

The front runner at the

Gärtnerplatztheater

was the New Year's Eve stream with “Three Men in the Snow”, which received 30,000 hits.

The premiere of “Der Vetter aus Dingsda” (6750) landed in second place.

Even the concerts in the “Sinfonische Lyrik” series achieve around 2,000 clicks - if you consider that the house has almost 900 seats and such concerts are only played once, an enormous number.

"In addition to a higher number of spectators, there are mainly people from all over Germany and internationally as far as Japan and the USA who would otherwise have no opportunities for a spontaneous visit," says Gärtnerplatz spokesman Roman Staudt.

+

The cockpit of the Bavarian State Opera: the new productions have also been distributed via the Internet for several years.

© Wilfried Hösl

Something similar at the

Bavarian State Opera

.

“I dare to say that with 'Eight Songs for a mad King' we might have filled the Cuvilliéstheater with a bang,” says spokesman Christoph Koch.

But as it was, 2500 were present at this “Monday play” - 400 more than the National Theater has seats.

Top runners at the State Opera were a “Monday piece” with Jonas Kaufmann or “La bohème”, also with the star.

Over 60,000 devices were connected.

It is clear to everyone that users do not always stay with it for the full length.

Koch gives an average of 30 minutes for operas.

At Gärtnerplatz it is assumed that “a large part” will go the full route.

The smaller the hall, the more successful the streaming is in terms of reach.

The

Unterfahrt jazz club,

with 165 seats at a live concert, reports a quota of 500 to 3,000 clicks, a record was 9,000. The

Schauburg youth theater

is also noticed far beyond Upper Bavaria, and requests for its pay-streams also come from Luxembourg, Ireland and Australia .

There are an average of 30 bookers per production that is sold as “theater on demand” - although in the case of these plays it is the rule that a whole family is watching.

Residenztheater wants to expand its internet projects

The

Munich Philharmonic is

a special case

.

Thanks to their chief conductor Valery Gergiev, they have been connected to pay TV or paid internet portals for a long time.

Almost every stream is reused by cooperation partners such as Mezzo or Myfidelio, but also by public broadcasters such as Arte or the Japanese broadcaster NHK.

"The current streaming is an 'effect', our long-term strategy is international sales," said Philharmonic spokesman Christian Beuke.

The orchestra recorded 8,000 to 13,000 clicks per concert on its own website.

Outliers to the top were concerts with pianist Mao Fujita as well as violinist Leonidas Kavakos and cellist Gautier Capuçon, both programs conducted by Gergiev.

Around 50,000 joined in here.

As a reminder: the Philharmonie has 2,400 seats.

Otherwise, the Philharmonic can only achieve such a high value with a cooperation partner.

A respectable balance sheet - but also a possibility of dissemination for the time after Corona?

At the

Residenztheater

it is firmly assumed.

When director Andreas Beck took over the house in 2019, there was “a small, neglected 1.5-person department”, as deputy director Ingrid Trobitz puts it.

This is gradually being enlarged - for filmed theater productions, but also for pure internet projects with their own aesthetic.

There is no substitute for a live experience

Trobitz refers to the variety of their network evenings, starting with daily free clips and zoom formats with interaction options via “Resi reads” and performances for five viewers to the classic “Woyzeck”.

According to Trobitz, 500 users have already switched to the latter.

This is also not comparable with other providers, the idea finally came out before Corona.

Otherwise one is careful with numbers at Resi, less with the range: In Hamburg, Athens and Istanbul, too, fans sit in front of the computer, as Trobitz reports.

"So streams will be with us in the future."

You can see that in other institutions too.

A kind of rule of thumb applies: the more they get involved in a special Internet aesthetic, the more intensively the projects are driven forward.

This affects the Schauburg with its "Netzburg" as well as the BR sound bodies.

"Streams are by no means just a substitute solution for the closed halls," said the broadcaster.

This is different at Gärtnerplatz, where spokesman Roman Staudt only sees streams “every now and then” as a supplement.

Which makes it clear: The live experience without a bite to eat at home, but with the clinking of glasses in the break foyer, cannot be outweighed by anything.

Source: merkur

All life articles on 2021-02-13

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