Opinion | Classical Crescendo

Magnus Fiennes, a composer and music producer who is the brother of Ralph Fiennes, reported an unforgettable moment at the Los Angeles Philharmonic last April. A woman sitting near him at Walt Disney Concert Hall had a “loud and full-body orgasm” during the second movement of Tchaikovsky’s Fifth. Others in the audience sent tweets pondering whether the moan was due to a medical ailment. However, the woman, who remained with her blissful partner for the entire concert, still hasn’t come forward to explain her reaction.

Regardless of what happened, the scream represents classical music’s increasing popularity. People are beginning to realize that classical music is not only safe and soothing but should also produce a “tingle” — that electric feeling when musical tension culminates in a release.

Renowned soprano Renée Fleming pointed out that “climax” is a frequently used musical term, which refers to the release of musical tension. She added that Rachmaninoff and Liszt were experts at composing seductive pieces.

To honor this unforgettable moment, Norman Lebrecht, a British music journalist, created a blog called “The 10 Best Orgasm Symphonies” on Slipped Disc.

According to Albert Imperato, a New York music promoter, it appears that classical music is getting hot.

Elim Chan, the 36-year-old conductor, who was holding the baton that night, appreciates audience participation and reaction. She is a strong believer that classical music should not be viewed as a mere artifact in a museum.

After the pandemic’s dark periods, people are returning to concerts to experience the euphoria that only live music can offer. Albert Imperato says that many are coming to “feel something” that will never exist again.

Recent surveys have indicated an increased interest in classical music. The genre was especially successful in America and England during the pandemic, with more middle-aged and young listeners, and it is soaring on social media.

Peter Gelb, the Metropolitan Opera’s general manager, says that contemporary opera performances by living composers, such as Terence Blanchard’s “Fire Shut Up in My Bones,” “Champion,” and Kevin Puts’s “The Hours,” are very successful. In addition, the new opera “Champion” features the Met’s first-ever performance of two men kissing and drag queens, he added.

New York is the heart of this energy. Gustavo Dudamel, the 42-year-old curly-haired conductor, is moving from Los Angeles to take over the New York Philharmonic in 2026. He has promised to keep the next few seasons lively and dynamic.

Yannick Nézet-Séguin, the 48-year-old Metropolitan Opera conductor, is a bundle of energy with bleached-blond hair and a diamond earring. He sheds the classical music’s reputation for being stuffy and overly formal by wearing flamboyant costumes.

New York is also home to Yuja Wang, the 36-year-old pianist and fashion icon who performs Rachmaninoff in high-fashion mini-skirts and stilettos.

Nézet-Séguin claims that we might be experiencing another golden age in classical music. He feels that some institutions and performers may have forgotten vital components of the art, like forging connections with audiences. In his rehearsals, he encourages the musicians to create “love” in the music, even requesting that they cherish every note.