Orchestra outnumbers the audience as the LSO makes its socially distanced debut

London Symphony returns to its studio to record performances watched by just 12 people

USUALLY, when Sir Simon Rattle lifts his baton, the atmosphere crackles with anticipation, programmes rustle, heads turn.

But the London Symphony Orchestra’s new world is unlike that of old. On Wednesday night, the first full orchestral indoor performance of the season took place with an audience of just 12. This autumn, as the musicians – the requisite two metres apart – pick up their instruments, they will become accustomed to serenading such “crowds”.

In many ways, it is the most exclusive ticket in town. Each week, between 12 and 20 people get the chance to watch the orchestra perform live at LSO St Luke’s, its north London venue.

The season is designed to allow the music to be enjoyed by audiences in their own homes and in the hope of generating some income. The concerts will be shown on pay-per-view channels.

However, those who manage to get their hands on a ticket will have the opportunity to watch the performance live, while it is being recorded.

Tickets will go up on the LSO website each week for £35, sold on a strictly first come, first served basis.

An LSO spokesman insisted they will be for the general public and that donors, board members and other insiders will get no special treatment.

“We have had to be very clear to our supporters that we just can’t accommodate them,” he said.

In the first audience were four critics, invited to experience the new format; Janis Susskind, managing director of music publisher Boosey & Hawkes and a member of the LSO board; Markanthony Turnage, composer evening’s new piece, Last Song for Olly; and Susie Thompson, an LSO donor who funded the new commission. The rest were members of the public.

The spokesman said: “Musicians can play on their own but it’s about the collective experience, a group of people creating something and the others in the room receiving that communication. That’s why it’s important to have people there. While they may be few, they all applaud, they make a noise, they react as the musicians take a bow.”

However, it is devoid of the usual frills – there is no interval, no ice cream, no champagne. Even drinking water is out, as lavatory breaks are off the cards. Each weekly concert is one hour long – specifically to avoid such breaks.

The audience is sent a digital programme in advance and given “extensive guidelines” on etiquette. They must arrive 20 minutes before the music begins and, upon using hand sanitiser, are ushered to seats on the balcony.

Maximum capacity is 90 people, meaning that the number of tickets available for each concert is dependent on how many musicians are involved.

The brass section, which requires more space, will also be seated on the balcony. The new “rule of six” will not affect the concerts as LSO St Luke’s is a workplace and the space has been declared Covid-secure.

There are about 20 staff; mostly stage managers and technicians operating cameras from a basement room.

While there may be a rush for the coveted tickets from fans for months starved of live performances, the LSO insists that the whole point of the programme is to watch at home. “We have contracts with six different pay-perview platforms and an element of each concert will be available free on Youtube,” the spokesman said.

“The idea is that it is all recorded. We want to encourage people to watch online. This is the new world.”