Kate Molleson advises against uptightness in the concert hall:
The classical music community gives mixed messages. Accessibility is the industry catchword. In some respects, we’ve relaxed into being able to dress how we like and experience concerts as an everybody, everyday event. In others, we’ve come to demand sanctimonious listening environments of silence and absolute stillness. I’d be the last person to advocate stuffiness in the concert hall: there’s nothing more grim than the tut-tuts of an officious crowd. Such a response alienates those not in the know – and if our aim is to welcome new listeners to the fold, we can’t make them feel daft when they get there.
Yet I hate being distracted from great music by careless noise. At worst, it can fundamentally change the fate of a performance, like when Mitsuko Uchida played Beethoven’s Fourth Piano Concerto in Edinburgh last month and was interrupted seconds before the opening chord by a loud clatter. She was visibly startled, had to reposition her hands over the keyboard, and never seemed to fully regain her focus.