As the camera pans from orchestra to audience in the final scene of Tár, we learn just how far the mighty conductor has fallen. We first met her many indiscretions earlier, as she was preparing to record a complete cycle of Mahler symphonies with the Berlin Phil. Now she finds herself directing a provincial performance of music from a video game, with a giant projection screen behind the orchestra, players wearing click-track headsets and an audience done up in elaborate fantasy cosplay.
In reality, live orchestral performance has found necessary new eyes and ears in recent years thanks to events just like the one we’re invited to scoff at in Tár. But does this offer anything to artists beyond boosted revenues? US composer Mason Bates certainly thinks so. His audiovisual guide to the orchestra, Philharmonia Fantastique, uses the same set up and, later this month, will receive its European premiere by the Aurora Orchestra at London’s Southbank Centre.
‘Orchestras have really locked down a new medium with the projections and the click or something every year.’
