Etiquette for Classical Music and Opera Concerts: Tips for a Better Experience

“You have just destroyed one of the most beautiful passages of this work.” This was the reprimand that the conductor William Christie addressed to the spectators of the National Auditorium in Madrid during a concert in December 2016. The maestro nationalized French stopped the interpretation of the Messiah of Händel when in the stalls a mobile phone was heard for the third time.

The anecdote is an example taken to the extreme of the deficient behavior that spectators sometimes show at music recitals. classical music and opera. Because this class of shows, like the theater, the circus or the bullfights, have their more or less official codes. Getting to know them can help us not to look ridiculous and, positively, to better enjoy this type of concert. Here are some recommendations.

prior preparation

The concert experience starts before arriving at the auditorium. Thus, it is advisable to do a quick consultation (Wikipedia is usually enough) about the author’s life, particularly about his existential and employment situation at the time of composing the piece that is going to be heard. It is also convenient to read something about the work. Not so much about musical technical aspects, but about what inspired it and its structure. As we will see, the latter can be useful when it comes to knowing when to applaud.

In the case of opera, it is convenient to banish the contemporary allergy to spoiler y read the argument. Although most theaters around the world have subtitled screens, knowing the story in advance will allow us to pay more attention to the performance of the singers and get lost in the music. In the same way, it is It is advisable to listen to the most outstanding arias or passages beforehandfor the same purpose.

Once this acclimatization is done, in the days immediately prior to the concert you can choose to leave your mind and ears fallow. This way we will get a more natural experience of music.

Puntuality

To attend other diversions, one has a certain margin. If, for example, you arrive at the cinema just in time, the sometimes endless commercials will save you from missing the beginning of the film. Classical music, by contrast, waits for no one. When the doors close, late viewers are forced to wait for intermission or for the room staff to seat them at a suitable time. In this way, the experience of the public and the concentration of the musicians are preserved, freeing them from an incessant trickle of people.

Silence, silence, silence

In this same line, that of respect for the rest of the spectators and the artists, the greatest possible silence is strongly requested. You should try not to cough or use a handkerchief more than in the breaks. If you suffer from a stubborn cold that makes it impossible to contain the continuous throat clearing and sneezing, the rest will appreciate that you do not go to the concert directly.

Electronic devices deserve a separate chapter. You don’t want Christie’s or the manager on duty to be directed against you. It is best to turn off the mobile or put it in airplane mode to avoid any risk. If you choose to leave it silent, be careful with the alarms (also those of the wristwatch).

The rule of silence is no exception for experts in the field; if you want to demonstrate your musical knowledge to your seat neighbor, refrain from doing so until the end of the concert or, at least, until a favorable break.

know when to clap

Just like in flamenco, in classical music clapping is an art and should not be done at any time. For example, if we are listening to a symphony, the time to show our approval is at the end of it and not at the end of each movement (each of the parts that make up a concert or symphony). You have to be careful because —depending on the work and the director’s taste— sometimes a few seconds of silence are left between movements, at which point we can screw up. For this it can be useful, as we said before, to know in advance the structure of the work, as well as consult the hand program.

In case of doubt, the most sensible thing to do is to wait and see how the rest of the public reacts; It is not that it is a guarantee, but if the respectable applauds at the wrong time, at least we will not have been the initiators of the blunder. As a possible reference (although it is not mathematical), many times the moment to applaud comes when the conductor lowers the baton or hands.

Having said all this, it should be added that sometimes there are Magic moments of particular connection between the work, the artist and the public. On those rare occasions, an exception can be made and let the applause seal that unique moment.

It goes without saying that clapping accompanying music is totally prohibited, with the exception of the Marcha Radetzka at the New Year’s concert of the Vienna Philharmonic.

Outfit

In this chapter things have changed. No one is required anymore dress code determined and cowboys have become regulars in the stalls. All in all, it doesn’t hurt —as a way of valuing and thanking the work of artists— level up the outfit a bit without the need to leave look casual. In that sense, sneakers and t-shirts can be discarded. In addition, no cases of allergy to jackets or dresses have yet been detected.

Only on some occasions it is highly recommended to go more formal, for example if we go to the premiere of an opera rather than one of the later performances. Again, it is not mandatory, but in this scenario we can have the feeling of being less elegant than most.