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How the Detroit Symphony Live-streamed Its Way to Success By John Fleming June 2, 2015
Live-concert streaming as appetizer for the Real Thing The webcasts, which have a varied schedule among Friday and Sunday matinees and Saturday night performances, draw from 3,000 to 5,000 viewers. Webcasts of a Tchaikovsky festival in February had up to 8,000 viewers for a pair of weekend concerts. From the backyard to the continent
Viewers trade commentary on Twitter during webcasts. One cool exchange was with Charlie White, the ice dancer from Detroit who, with partner Meryl Davis, won a gold medal in the 2014 Winter Olympics for their performance to Scheherazade. “We live tweeted to Charlie White that our Scheherazade program was about to begin, he watched and retweeted, and now he’s a huge fan of the DSO online and always shares our posts,” says Eric Woodhams, director of digital initiatives. Live streaming is more prevalent in Europe—the Berlin Philharmonic Digital Concert Hall is the gold standard in the field [see The Digital Concert H all: A Virtual Venue, Literally]—but so far the DSO is the only U.S. orchestra with regularly scheduled live webcasts. “I am a bit mystified that more orchestras haven’t decided that it would be helpful for them to try this,” Parsons says. “They could do it if they wanted to. But for now we’re alone out there, pioneering.” Partners in success The DSO musicians are central to the success of the digital strategy. To settle the strike in 2011 they agreed to a contract free of hobbling extra payments for the webcasts. The contract includes an electronic media guarantee, or EMG, that is considered part of overall pay and was not in previous agreements. The EMG remained in place when musicians ratified a subsequent contract. Under its Guest conductors and soloists have not asked for royalties for webcasts. “The key is that it’s free and online,” General Manager Eric Ronmark says. “It’s possible that would change for an encore webcast. But as long as it’s free and live, I think people understand it’s to everybody’s benefit to have it out there.” Robots in the hall, humans in the control room Six Sony cameras are fixed to walls around the stage and out in the hall. They are run from a digital control room in the basement, where score reader Oriol Sans and director Alex Kimbrough call the shots to a crew that includes an operator using a joystick to maneuver the cameras, a switcher to cut and dissolve between shots, and a graphics operator. The camera work can get busy. Ligeti’s 12-minute Concert Romanesc had 41 shots in March. The webcasts have a sound engineer and use the same microphones used for recordings. Principal platforms are the DSO.org/live web site, the Detroit Public TV web site dptv.org, and livestream.com, the web site of Livestream, the streaming service provider. And yes, given all the technology involved, glitches do occur. In a 2014 webcast, the climax of Carmina Burana was lost in cyberspace. “Everything had been going perfectly until that point, and suddenly something happened—maybe our server conked out—and the stream cut out,” Woodhams says. “So we agreed to make that performance available for the rest of the week on demand as our token of appreciation for those watching.”
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