BSO About to Announce Tanglewood Season
Time for Change or More of the Same
By: Charles Giuliano - Nov 07, 2009
In this tough economy every new marketing strategy is worth a try.
But there is already speculation as well as concern.
On October 18, in the Berkshire Eagle, Clarence Fanto posted the attendance and financial figures for all of the major arts presenters. This evoked much sifting of the tea leaves in taking the pulse of the arts. Depending on how you run the math the season of 2009 was not as dreadful as anticipated. The exception was the staggering debt for the imperiled Shakespeare & Company in Lenox.
The essential question involved taking the pulse at Tanglewood. It is the engine that drives the arts and tourism industry in the Berkshires.
According to the data filed in the Eagle the overall 2009 Tanglewood attendance, at 350,110, was an increase from 333,068 in 2008. The endowment, like most portfolios, was down about a quarter from a high of $400 million in 2008 to $305 million in 2008. That led to a decline of just $4 million in the 2009-2010 budget down from $84 million in 2008-2009.
Overall, when expenses were factored into revenue Tanglewood lost some $3 to 4 million in the past season.
The wild card saving the season from greater declines of attendance and revenue was the five day, James Taylor and Friends, series of concerts that brought in an audience of 61, 198 and a record weekend attendance. Taylor donated his artist's fees with a value of a half million dollars.
Taking Taylor out of the mix one concludes that Tanglewood is in trouble and the BSO needs to fix it. It is anticipated that Taylor will again be included when the schedule is announced but not to the extent of his involvement last summer.
It has long been argued that there are other artists, Bob Dylan and Bruce Springsteen come to mind, who would work with Tanglewood's style and mandate. Arguably, there are acts that would draw at least on a par with Taylor with a fan base that would not trash the hallowed grounds. As was somewhat the case when the popular, artistically significant band, Wilco, appeared during the season of 2008.
It caused outrage among classical music critics and diehards who viewed the Wilco concert as a violation and sacrilege. But the Tanglewood administration was largely at fault for not anticipating the security issues. Volunteer ushers did their best to keep the fans in their seats. They were simple overwhelmed. During Taylor's Shed concerts, however, we noted the presence of beefy security posted in the aisles. They didn't entirely prevent the rush to the stage but were a professional presence in keeping the crowd under control. In putting up a perimeter they bent but did not break.
As far as seeing Dylan and Springsteen this year, don't hold your breath. But we would much enjoy more acts like Tony Bennett and Diana Krall in addition to the now entrenched Taylor dates. Bennett appeared mid week but drew a good crowd in the Shed. Krall sold out. Just imagine if her husband Elvis Costello joined her on stage? Now that would sell out a weekend. Come rain or come shine.
Interestingly, it did rain during the Taylor weekend but the lawn seats were sold months before the event and folks showed up anyway. During the summer, however, most people buy their lawn tickets at the last minute. On many nights last summer, during the prevailing inclement weather, there was a good audience in the Shed but nobody on the lawn.
In its non classical bookings Tanglewood tends to be formulaic. In addition to recycling the ever popular James Taylor, last summer there were repeat appearances for Krall, Bennett, Garrison Keillor, and the Mark Morris Dance Company. Surely there are other dance companies suitable for Ozawa Hall. The mid season jazz bookings are confined to the Andre Previn trio. Jazz is separated off to Labor Day weekend after the BSO has packed and returned to Boston. How about some top jazz acts during the regular season?
In today's Eagle classical music critic, Andrew L. Pincus, raised issues and concerns. No, he did not suggest booking Dylan, a no brainer, but he did fault the BSO for its conservative program. And Pincus speculated on the health of artistic director, James Levine. The conductor withdrew because of an emergency operation immediately after the opening concert of 2008. He returned in 2009. But is again taking a leave from the BSO and Metropolitan Opera for health related issues.
Pincus reports that "James Levine, now 66 and in his sixth season at the BSO, is out of action after back surgery. This is his third extended absence in four years because of physical problems. He says they were unrelated and he's basically healthy.
"Fine. Let's take him at his word. An underlying question remains: In what direction should he be taking the BSO?"
In addition to Levine's health Pincus, like Jeremy Eichler in the Globe, and Anthony Tommasini in the New York Times, questions his vision and programming. Particularly when compared to the Los Angeles and New York Philharmonics.
Initially, Levine appeared to be a champion of new music. In 2008 there was a Tanglewood week dedicated to Elliot Carter. Last summer we were thrilled to hear a performance of Stravinsky's modernist classic "Rite of Spring." It was ambitious to have that great work but the attendance was disappointing. The audience came for the old chestnuts. Or did they? That's the conundrum.
While some critics would like to see more jazz and rock in the Tanglewood mix, others want to hear more diverse contemporary composers. In the face of an aging and declining audience, is the BSO caught between rock and a hard place?
Yes, it is essential to cultivate new and younger audiences with more progressive programming. But there is risk of turning off the base. The fact is most young people can't afford Shed tickets. Unless they are for James Taylor and Wilco. Or Dylan.