Symphony Hall

Oh

... five nights for the money you'd make at one night playing Symphony Hall or something.

But for you as a comic, what was the crowd like?

The crowd was great because the crowd-

Anyway, 7:00 a.m. in the morning or, like, 8:00 a.m. in the morning, he walks into L'Enfant Plaza Metro, which is, like, the subway station in DC, and he stopped, set up, like, a little tip jar, started playing the violin, okay? I think seven people throughout the time that he did this stopped, and he made $32 in tips.

Three days earlier, before he pulled this stunt, he sold out the Boston Symphony Hall at basically average $100 a seat.

There's 2,625 seats in the hall, so a nice little $262,000 night for the violinist.

No one cared.

No one knew.

No one stopped.

Made $32 in tips when he sold out the Boston Symphony Hall three nights earlier, right? So how many other examples are there in history where if the story is added, the value explodes? If the story's removed, the value collapses.

Context removed, excellence disappears, right? So I figured I gotta eat my own dog food, so to speak, right? So I'm gonna start this with some help from AI.

The Bach Project, which introduced him to strangers around the world, and our common nature a more recent outdoorsy effort to bring people together he's voraciously curious said sophie shackleton the creative producer at sound postings he's very non-judgmental about people across all different backgrounds and disciplines and he loves trying to understand them Because of this, a Yo-Yo Ma concert is never just a concert.

Even something as conventional as a recital of Bach's complete cello suites, which he performed at Symphony Hall in Boston last fall, extended out into the world.

It was simulcast to public libraries nearby and into parts of Massachusetts.

In Watertown, where the screening room was at capacity, and there was a waiting list of nearly 500 people.

Families gathered with cookies and apple cider from a cafe and explored an exhibition upstairs.

One mother referred to it all as, quote, a gift.

Inside Symphony Hall, Ma put on a marathon performance, more than two hours of music padded with spoken interludes, a prompt to everyone to write what they want for their communities in 2050, and an encore duet with Michelle Wu, Boston's piano-playing mayor.

Around 10 p.m., A tickling audience excess began.

But that's the situation.

But certainly if we go to Tanglewood up here in the Berkshires or to Symphony Hall in Boston or Philharmonic Hall in New York, it's a sea of gray hair, without a doubt.

You know, just a side note to this.

I've mentioned this several times on the podcast, but it's worth mentioning here.

And then there was also some brand confusion with the word series because a lot of times patrons would think that we were a subset of or a sub-series of wherever we were presenting work at.

So for example, we present a lot of work at Symphony Hall here in Boston.

And people would say, oh yeah, you guys are a part of the BSL.

Like no, we're our own independent nonprofit organization.

Her performances have been praised as a revelation in musical excellence by the Oakwood Register and an unforgettable experience by the Berkshire Gazette.

She has appeared in prominent venues across the U.S., including the Kennedy Center, Boston Symphony Hall, Jordan Hall, the Banff Center, and Tanglewood, as well as internationally.

Ingrid formerly was repetitur and rehearsal pianist for the Richmond Symphony Chorus.

Her vast knowledge of instrumental, vocal, and operatic repertoire has led to stage appearances with celebrated artists such as Yo-Yo Ma, Dawn Upshaw, Leonidas Cavacos, and Jo Burgstahler.

And Porter Wagner on the other side when she was part of the Porter Wagner.

But this is taken backstage at the Boston Symphony Hall, I believe.

And I thought this write-up kind of summed up her career.

This picture was taken in 1972, Symphony Hall, Boston, Massachusetts.