Three Bach and the Curatorial OMO Concept
2035 vs. 2020 Dubbed “the turnaround king” in arts management, Michael M. Kaiser, the author of Curtains? The Future of the Arts in America (2015), knows the arts industry better than most. “Long before 2035,” Kaiser writes, “It is likely that many productions will be available for viewing at home, on demand.” Furthermore, he predicts that “While these performances should attract sizable audiences, there will be a reduction in overall demand for the classical arts.” Why? “Another two decades without comprehensive arts education and the passing away of many current arts lovers and supporters.” But all of this “will” in his book is happening now. Today, classical musicians and their managers are trapped in all the crises which Kaiser writes about in his book, years earlier than he expected them. After two years of the COVID-19 pandemic’s impact on the performing arts industry, we are making efforts to move forward and find ways to survive. We may discover something that will help us along the way by opening a drawer of history. In the drawer, there is a case that we can refer to: a unique classical music project created by integrating pieces from the classical canon with creative, cross-border
