Welcome to the digital society of the 21st century. A society where any time, any where, at your fingertips, is increasingly and faster than ever, becoming the standard across industries, products, geographies and people.
It is no longer about millennials only – it is about our contemporary society and our everyday life across the globe. It is about mobility and convenience, as well as the consolidation of the smartphone era.
This new normal challenges the status quo as a whole – and the orchestras are no exception. Standing still is no option at all, and the way to the very survival involves a fair deal of innovation, strategy, technology and customer-centric attitude. It involves reimagining the possibilities and embracing new ways to conveying a message, to engaging with the audiences, to providing relevant and fulfilling experiences with music.
Starting mid 2000’s, a fair number of orchestras around the word have already debuted with live concerts, and have been increasingly broadcasting a selection of concerts via internet. Podcasts, media-rich websites, a great variety of mobile apps – all part of this effort to offer differentiated customer experiences. London Symphony Orchestra (2005), Berliner Philharmoniker (2009), Sao Paulo Orchestra (2011) are among the orchestras already broadcasting some of their gigs online.
Virtual Reality is apparently the next natural step for them. 2016 have seen a number of experiments with VR by orchestras around the globe. The Berliner Philharmoniker started with Mahler’s Third Symphony, conducted by Iván Fischer, recorded back in Jan 2016.
The Philharmonia Orchestra showcased their digital offer with a brilliant takeover of the Royal Festival Hall back in Sep 2016. It was the first major VR production from a UK symphony orchestra – a great achievement indeed!
The Brazilian OSESP (Sao Paulo Orchestra) offered its first VR concert last month (Feb 2017), broadcasting from its home room in São Paulo, Brazil. They had the conductor Isaac Karabtchevsky leading the Symphony Nr2, by the Brazilian composer Villa-Lobos.
The VR offer is, no doubt, still to be shaped to meet a great deal of expectations around customer experience – its current format is still not enough to surpass the experience of a live concert. But it is already very exciting to learn about the feedbacks and new engaging possibilities being explored. And very reassuring from an accessibility perspective too! More to come.