Classical music gets criticism for not hitching its wagon to pop stars more often. When it does, you have to hope the most is made of the moment. But classical often works hard to parlay pop ties into a more accessible image - only to see those efforts come to naught.
Cases in point.
The Philadelphia Orchestra is hosting Sting for its upcoming Academy of Music Anniversary Concert. The concert isn't sold out. So why isn't the orchestra doing a better job of promoting Sting's presence? In fact, months ago the orchestra asked whether the Inquirer would be interested in interviewing Sting. The Inquirer said yes; its pop critic would like an interview. Then Sting said no. A representative of the singer said his new album is selling well, and he's doing no interviews.
Something similar happened earlier this season with Alec Baldwin, who opened the Philadelphia Orchestra's season. The orchestra offered him for an interview, The Inquirer said yes. Baldwin's representative said she'd get back to us with a date. She didn't. We called. And called. We offered to talk to him by phone, to come up and see him in New York. No response, and no interview. Baldwin is a big Charles Dutoit fan, and hearing Baldwin explain why could have been very nice for the developing image of Dutoit in Philadelphia.
It's pretty standard that when an artist accepts a date he or she accepts some of the responsibility for selling the house by doing publicity. When the house isn't sold out, observers tend to blame orchestra management, as in Why didn't the publicist do his or her job? But what the public doesn't see is the enormous time and effort management expends trying to promote a concert featuring a guest artist, only to be thwarted by the artist himself.
In any case, I see there are still tickets left to hear a bit of Sting on the 30th. In the amphitheater. For $203 a pop.
Is there a possibility that Baldwin's contract as spokesperson for the NY Philharmonic prevents him from doing an interview in Philly?— NYMike- As someone who works as an arts presenter in the US, there is blame to be placed on the side of the presenter. Arts organizations are quick to sign artists like those above to contracts (because star appeal=ticket sales) but fail to make certain that the contract will work in their favor when issues such as these arise. Case and point, the marketing and public relations requirements needed to sell out a show. Negotiating publicity into the contract is key especially when it is tied to the bottom line...the artist's fee. When the artist's management begin to fear that their commission will be lost, miracles begin to happen. Take control of the language in the contracts, and you take control of your bottom line.— whocox
- First of all, is Sting really that popular? Secondly, it would probably be extremely expensive to see him or another big star at a huge arena show (think $400 Madonna tickets) so $200 is kind of a bargain from that perspective. Besides, how much is an Eagles ticket these days? Last, what whocox says above is absolutely correct. If it's not in the contract, it's not happening. Period. Don't assume "when an artist accepts a date he or she accepts some of the responsibility for selling the house by doing publicity."— hautgirl
- I cannot speak for my colleagues, no matter what level of celebrity they are. However, once we agree to perform a concert for any organization, it is a partnership, and I always feel obliged to help publicize the event(s) as much as possible. This means telephone interviews, radio and television spots, visits within the communities, master classes, etc. It is certainly challenging enough for any level arts organization to sell tickets, and each guest artist has their own reason for being the guest, and any way they can share why they will be involved in the event can help sell tickets. In an age where accessibility and networking has become the norm, it will become increasingly important for performing artists to be more accessible in an age where the arts need every ounce of publicity to help sell the events on their series.— JBiegel
- I feel embarrassed that the Orchestra has to turn to a pop star(or former Star) to help them raise money. It is almost as if we were conceding the superiority of pop music. The music the orchestra plays is not for everyone. It may be that some have a musical ability that needs a level of complexity that turns off the ordinary person. Given that only a certain portion of the population is able to enjoy this music, trying to recruit people whose musical needs are perfectly satisfied with other types of music by hiring Sting seems a waste. Riccardo Muti could sell out an Anniversary Concert and I think he owes it to the Orchestra to donate one Concert to help it raise money. I guess he doesn't agree with me. The Classical Music world should pull together and anyone who can help should. Big fees were paid in good times and I think there is a responsibility now.— Joe Deegan
- This uncooperative, prima donna attitude isn't limited to pop stars. I own a Chicago-based PR firm and once represented the city's leading chamber music organization. On one occasion, the ensemble hired, as guest artist, a world-famous, household-name female violinist (and her accompanist). I asked the violinist's New York-based publicist if the artist would make herself available to the local media for phone interviews for concert preview stories -- or if I could interview the artist by phone or by e-mail about her thoughts on chamber music, the pieces she was going to perform at the concert, and any recollections of previous Chicago appearances, for use in press materials. I was turned down on all counts. The artist was "too busy" and furthermore, wanted to stockpile her PR opportunities to publicize some kind of career milestone she'd be celebrating the next year. All we could get was a canned bio they routinely sent to all concert presenters.— FineArtsPR
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