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As Joshua Bell has proven to us already, a venue is merely a concept. In the case of the Manchester Camerata, Bob Riley writes that the orchestra is "constantly challenging" how they engage with audiences. Thus, he concludes, "if that means we perform in a grand concert hall one day, and a car park the next, so be it." -
Simon Rattle, Berlin Phil Bringing Bach's 'St. Matthew Passion' to Park Avenue Armory for Lincoln Center's White Light Fest
So, Bach hated opera because of its lazy audience. And yet his most operatic work, the St. Matthew Passion, constantly engages, asking questions about the role of an audience in that very production. If only there were a Socratic maestro--and a German ensemble--who could highlight such a line of inquiry?
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