Advice for US&O: Think outside box

Back in 2002, when the concept of a merged Utah Symphony/Utah Opera organization was being promoted, music director Keith Lockhart and CEO Anne Ewers were exhorting us to think outside the box.

In advocating a merger, they emphasized the need to look to the long-term health and well-being of both companies. To that end, both Lockhart and Ewers were convinced of the necessity in thinking creatively in terms of co-operation between the two to ensure the viability of both — and, in particular, of the symphony.

And, in truth, the results of the merger have been more clearly felt on the symphony's side of the combined company.

Up to now, however, in the two years since the merger, thinking outside the box in terms of programming hasn't been very imaginative. It's resulted only in so-called extra-sensory concerts.

However, in all fairness, both the symphony and opera finalize their schedules several years in advance. Consequently, the concerts and operas that have been presented during this time period were scheduled well before the merger.

Extra-sensory concerts were Lockhart and Ewers' attempt at creative programming, which translated into adding a visual element to some concerts. However, visualization isn't the answer. Choreographing a suite from an Igor Stravinsky ballet or adding video images or mood lighting to a concert is only effective the first time you see it. After that, it becomes tedious and distracting.

Nothing can hide the fact that these are just fanciful gimmicks intended to wow an audience, no matter how sincere and honest the intentions may have been when these projects were initially conceived.

What will attract and retain an audience is quality.

The symphony and opera need to consistently bring in top-notch soloists and first-rate guest conductors in order to increase audience numbers. And the key word here is "consistency."

Of course, it's more expensive, week after week, to hire those who are at the top of their profession. But anything less would defeat the purpose of capturing and retaining a loyal audience base. It's unacceptable to try to balance the books by bringing in a conductor who, because of his or her lack of talent, has no business leading the symphony.

The Utah Symphony is without question one of the finest orchestras in the country today, and as such it deserves the same high quality guest artists. And the same applies to Utah Opera.