Yesterday found us at Philharmonia at the Movies, where a full orchestra plus guest mezzo soprano Heather Shipp took us on an assured and entertaining journey through the history of Oscar-winning film music. From the opening drums and trumpets of the 20th Century Fox fanfare to heart-rending orchestral swells of Out of Africa to the closing strings of the latest James Bond film theme, it was pure fun. A feeling exacerbated by playful conductor Carl Davis, who sported outrageous tailcoats, included the audience (whistling chorus from The Bridge on the River Kwai, anyone?) and gamely offered vocals for a few comedy numbers. Classic FM host Andrew Collins compered the concert, giving insightful introductions with the same light touch he uses on his weekly At the Movies radio show.
While any classical music fan would have been delighted by the sweeping film scores and well-chosen variety, the concert was particularly engaging for children. Film scores are the perfect bridge from pop culture to classical music, and this concert was studded with recognisable favourites like the Star Wars theme and songs from The Muppet Movie, Toy Story and Frozen. (Singing along welcomed.) A great tragedy, then, that there were probably fewer than 50 kids in the audience.
In fact, I'd guess that at least a third of the auditorium's 1,400-seat capacity remained unsold. About the same as when we saw Milos Karadaglic here in 2013. (More about that here.) I can't imagine how you break even when you need to assemble and pay more than 80 performers for your show, but have that many empty seats. Especially when many of those seats ... including ours ... were booked through a last-minute sales promotion at £10 each. Great for the audience, concerning for the future of classical music.
It's a common refrain in the UK that everything good gets sucked to London. Jobs, events, culture. Here, just an hour's train ride from the capital, we have our own cultural scene that can be just as good (often, the same performers on tour) but much cheaper and more accessible. I worry that if we don't use it more, we'll lose it. Once culture is in London, travel and ticket prices make it far more exclusive. Exclusivity means shrinking audiences, which ultimately endanger survival. So, if you live in the area ... make an effort to discover classical music at The Anvil. Here are five reasons why.
A friendly starting point
Like any branch of "high culture", classical music can be intimidating if you're new to it. When to clap? What will you like? What's happening up there, and why? Touring companies make a great effort to make things accessible by offering popular music, familiar hosts who help you to understand what you're hearing, and generally work to make things fun. Snobs ... the same types who hate Classic FM's pop music format ... will call this "dumbing down". I think it's precisely the way to draw new people into music. Once they discover their enjoyment, they can move on to more challenging stuff.
Intimate environment
Compared to London's concert halls, The Anvil is tiny. A 1,400-seat auditorium (especially when it's only 2/3rds full) means easy parking and a civilised experience getting interval drinks. There are places to sit and you don't have to queue forever in the toilets. Once in the auditorium, you'll have a good seat wherever you are. You'll be close enough to see what the musicians are doing, allowing your eyes to enhance the experience of your ears. Ah! So it's a xylophone that makes that sound... Best of all, in surroundings this close the music washes over you. No matter how good home stereo equipment is, it can't equal a live performance.
Bargain prices
Even at full cost, performances at The Anvil are less than half of what you'd pay in London. The most expensive tickets are usually around £40, and you can regularly get seats for less than £20. Once on the mailing list you may get offers for discounted seats they're trying to sell at the last minute. That's how we got to our most recent concert, where two tickets plus booking fees cost us less than just one of the off-peak train tickets we would have needed to see the Philharmonia at their regular home on the South Bank.
London quality
You're paying bargain prices, but you're getting the same artists and quality of performance you'd see in London. (Coming soon: More from the Philharmonia, Nicola Benedetti, Nigel Kennedy, the Orchestra of the Age of Enlightenment.) Shows at The Anvil are often warm-up runs before big acts head to the capital for their higher-profile performances. The ease of commuting that makes Basingstoke a popular home for so many London workers works both ways; London-based artists can get down here easily for a show ... and no doubt enjoy the more casual, intimate atmosphere.
Impromptu booking
Having seen so many empty seats at both of my visits, I suspect it's usually possible to walk up the day of a performance and buy tickets. In London, things regularly sell out and you have to plan months in advance. We often pass on things we're interested in, simply because we're hesitant to block up our diary so far in advance. At The Anvil, you can make an impromptu decision to take in a concert, and probably be able to snag a last-minute seat with no problem.
All of which is why, I'm telling myself, we need to go back again soon. Hope to see you there, neighbours.
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