One of the interesting developments in live classical music and opera over the past decade has been the emergence of club nights and site-specific performances. In London, especially, young promoters have taken over rock clubs, railway arches and car parks, selling tickets on the door to audiences who are reached through social media. The flourishing scene for live music outside the concert hall and opera house is overwhelmingly promoter-led and unfunded. Budgets are tight but groups are dynamic and light on their feet. This ephemerality is the movement’s great strength, but does it also limit what can be achieved? Is it sustainable to always be on the move?
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