ABSTRACT
This chapter considers the business models of orchestras and classical artists as a live experience art form. The perception that classical music is outmoded or elitist is considered. The types and tiers of ‘talent’ are considered – from instrumentalists to conductors and soloists. Distribution channels are analysed. In monetisation, the dual bottom line dimensions of public sector subsidies are explored, which require inclusivity and accessibility outputs at the same time as financial breakeven. Venues discussed range from the Albert Hall in London, to Carnegie Hall in New York, Los Angeles’s Walt Disney Concert Hall and Hollywood Bowl, Berlin’s Berliner Philharmoniker, the Sydney Opera House and more. The sustainability and social value of the industry is discussed, including through the lens of a section on opera.
