The success of the just completed Online Salon Concert of Nobuyuki Tsujii, streamed live on each Sunday in June, has not escaped the media's attention in Japan. In addition to an article posted on June 30 by Japan's Economic News ("オンライン公演に活路 Live performance with online distribution"), the online concert is prominently mentioned on July 6 in the online Weekly Economist section of Japan's 毎日新聞 Mainichi [Everyday] newspaper.
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Below is an image of part of the article, followed by an English translation of the relevant text, as well as my own take on thismatter.
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サザンや辻井伸行の「オンラインコンサート」から「オンライン芸者」まで…「リモート化」に生き残りをかけるエンタメ業界＝白鳥達哉
https://weekly-economist.mainichi.jp/articles/20200706/se1/00m/020/001000d
[posted by Japan's Everyday News Economy section online] 典型的な「３密」であるコンサートや演劇などの娯楽業界は、入場規制や公演自体の中止で、コロナ禍の最も大きな受けている業界の一つだ。そうした中、打開策として、インターネットを使った配信サービスが急速に広まっている。＜特集：非接触ビジネス＞
国際的なピアニストの辻井伸行氏（31）は、６月７日以降の毎週日曜日に有料のオンライン・サロンコンサートを開催した。辻井氏は新型コロナの影響でリアルの場でのコンサートが不可能となったのをきっかけにユーチューブでの動画配信を開始した。これが大きな反響を呼んだことから、インターネットを通じたコンサートにも需要があるのではないかと考え、今回のオンライン・サロンコンサートが企画された。
辻井氏の通常時のコンサートは、会場規模が約２０００人、チケット料金はソロコンサートの場合で７０００～１万円に設定されている。今回のオンラインコンサートは、１２０人ほどの小規模のホールで開催され、チケットも１８００円と安価だ。視聴者数は第１回が２５００人、第２回が２７００人、第３回が３７００人と右肩上がりに増え、累計で約９０００人と、通常時の規模を超える人数が視聴した。
東京・杉並在住の会社員、栗原秀幸さん（52）は、「辻井さんのファン。チケット代が１８００円と非常に手軽だったので、３週連続で、生演奏を楽しみました。自宅でお酒を飲みながら、鑑賞できるのは新鮮」と話す。
辻井氏が所属するエイベックス・クラシックス・インターナショナルは、「コンサートホールの限られた客席に加えて、オンライン視聴してもらう方が増えることは、ビジネスとしても明らかにプラス。９月以降に社会的距離（ソーシャル・ディスタンス）を保って再開を予定しているコンサートにつていは、すべてオンライン配信も実施していく」としている。
The typical “escape” entertainment industry such as concerts and plays is one of the most affected industries in this Corona Virus pandemic, due to the suspension of admission and performances. Meanwhile, as a breakthrough, distribution services using the Internet are rapidly spreading.
Nobuyuki Tsujii (31), an international pianist, has held a paid online salon concert every Sunday starting June 7th. In the wake of the outbreak, which rendered live concert impossible, Mr. Tsujii started posting videos on YouTube. It was a big hit, the thought was that there might be demand for concerts via the Internet, and consequently the online salon concert was planned.
Mr. Tsujii's normal concert has a venue size of about 2000 people, and the ticket price is set at 7,000 to 10,000 yen for a solo concert. This online concert was held in a small hall for about 120 people, and tickets are, at 1800 yen, inexpensive. The number of viewers increased steadily to 2,500 in the first session, 2700 in the second session, and 3700 in the third session, and the total number of viewers reached 9000.
Hideyuki Kurihara (52), an office worker living in Suginami, Tokyo, said, “I am a fan of Mr. Tsujii. The ticket price was 1800 yen, so I enjoyed the live performance for 3 consecutive weeks. It's refreshing to be able to appreciate it while having a drink."
Avex Classics International, to which Mr. Tsujii belongs, said, "In addition to the limited number of seats in the concert hall, the increase in the number of people watching online is clearly a plus for business. Social distance remains in place after September, and all concerts scheduled to resume with a social distance will be delivered online as well." ...
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I cannot find where I read it, but there was a lone voice that raised concern about the free streaming of concerts as giving away too much -- citing what happened to the music industry as a consequence of free sharing in bygone days.
Nobu's online concert -- charging a modest fee for live streaming and 2-days of on-demand viewing afterward -- is a bold and innovative move that I applaud, with one exception: To sign up for the streaming by ePlus, one has to register with them, and a Japan mobile number and credit card is required-- that effectively excludes all of us who live outside Japan, even though I for one would be more than happy to pay for the viewing pleasure.
I am happy for the success of Nobu's online concert. Instead of suffering in silent desperation, the support team of Nobu took a chance. The revenue from the concert might have been modest, but it keeps Nobu and his staff active, and his fans in Japan happy. Except for some minor technical glitches (such as on the 2nd night when the access demand overwhelmed the system at the start), the online distribution apparently has worked well. This is an impressive accomplishment by a small team turning to online technology for the first time. The team was also successful in generating media attention, apparently through press releases as well as invitations to media representatives to attend and write about the concert.
In a previous article, Avex manager Hiroyuki Nakajima, President of Avex Classics International, is quoted as saying: "[By doing the online concert] we are able to cultivate a younger audience than in the actual concert. If we can develop both concert and online, we can expand our fan base." Brilliant!
And, as mentioned in the aforementioned article, the team now plans to stream the upcoming concerts -- such as Nobu's The Best Recitals this September and the Ark Classics at Suntory Hall this October (featuring Nobu and violinist Fumiaki Miura) -- where social distancing is required. The online streaming can then be a supplementary income, to compensate for the reduced audience size.
My hat is off to Team Nobuyuki Tsujii. Bravos, bravos!
There is no comparison to Nobu's live performances. I yearn to be able to travel to London, Berlin or New York City for Nobu's piano, as I have done during the last decade. But the world has changed. It is clear now that we will be living with the Corona Virus for a long time. At the rate things are going in the States, my carefree traveling days may be a thing of the past ... at least for some years to come.
Honestly, I would gladly pay for the privilege of online viewing of Nobu's concerts. So, please ... Team Nobuyuki Tsujii... please do make the online distribution available outside Japan!! Thank you in advance.
Below is an image of part of the article, followed by an English translation of the relevant text, as well as my own take on thismatter.
サザンや辻井伸行の「オンラインコンサート」から「オンライン芸者」まで…「リモート化」に生き残りをかけるエンタメ業界＝白鳥達哉
From ... Nobuyuki Tsujii's "online concert" to "online geisha"... the entertainment industry survives on "remote"
https://weekly-economist.mainichi.jp/articles/20200706/se1/00m/020/001000d[posted by Japan's Everyday News Economy section online] 典型的な「３密」であるコンサートや演劇などの娯楽業界は、入場規制や公演自体の中止で、コロナ禍の最も大きな受けている業界の一つだ。そうした中、打開策として、インターネットを使った配信サービスが急速に広まっている。＜特集：非接触ビジネス＞
国際的なピアニストの辻井伸行氏（31）は、６月７日以降の毎週日曜日に有料のオンライン・サロンコンサートを開催した。辻井氏は新型コロナの影響でリアルの場でのコンサートが不可能となったのをきっかけにユーチューブでの動画配信を開始した。これが大きな反響を呼んだことから、インターネットを通じたコンサートにも需要があるのではないかと考え、今回のオンライン・サロンコンサートが企画された。
辻井氏の通常時のコンサートは、会場規模が約２０００人、チケット料金はソロコンサートの場合で７０００～１万円に設定されている。今回のオンラインコンサートは、１２０人ほどの小規模のホールで開催され、チケットも１８００円と安価だ。視聴者数は第１回が２５００人、第２回が２７００人、第３回が３７００人と右肩上がりに増え、累計で約９０００人と、通常時の規模を超える人数が視聴した。
東京・杉並在住の会社員、栗原秀幸さん（52）は、「辻井さんのファン。チケット代が１８００円と非常に手軽だったので、３週連続で、生演奏を楽しみました。自宅でお酒を飲みながら、鑑賞できるのは新鮮」と話す。
辻井氏が所属するエイベックス・クラシックス・インターナショナルは、「コンサートホールの限られた客席に加えて、オンライン視聴してもらう方が増えることは、ビジネスとしても明らかにプラス。９月以降に社会的距離（ソーシャル・ディスタンス）を保って再開を予定しているコンサートにつていは、すべてオンライン配信も実施していく」としている。
The typical “escape” entertainment industry such as concerts and plays is one of the most affected industries in this Corona Virus pandemic, due to the suspension of admission and performances. Meanwhile, as a breakthrough, distribution services using the Internet are rapidly spreading.
Nobuyuki Tsujii (31), an international pianist, has held a paid online salon concert every Sunday starting June 7th. In the wake of the outbreak, which rendered live concert impossible, Mr. Tsujii started posting videos on YouTube. It was a big hit, the thought was that there might be demand for concerts via the Internet, and consequently the online salon concert was planned.
Mr. Tsujii's normal concert has a venue size of about 2000 people, and the ticket price is set at 7,000 to 10,000 yen for a solo concert. This online concert was held in a small hall for about 120 people, and tickets are, at 1800 yen, inexpensive. The number of viewers increased steadily to 2,500 in the first session, 2700 in the second session, and 3700 in the third session, and the total number of viewers reached 9000.
Hideyuki Kurihara (52), an office worker living in Suginami, Tokyo, said, “I am a fan of Mr. Tsujii. The ticket price was 1800 yen, so I enjoyed the live performance for 3 consecutive weeks. It's refreshing to be able to appreciate it while having a drink."
Avex Classics International, to which Mr. Tsujii belongs, said, "In addition to the limited number of seats in the concert hall, the increase in the number of people watching online is clearly a plus for business. Social distance remains in place after September, and all concerts scheduled to resume with a social distance will be delivered online as well." ...
****
WHAT I THINK
As a long-time admirer of Nobuyuki Tsujii from afar (U.S.A), I am well aware of the popularity of Nobu in his home country. Even so, I was skeptical about the success of this online concert. In response to the Corona outbreak, orchestras and musicians -- like everybody else -- have resorted to the Internet in their effort to keep up with their work -- FOR FREE.I cannot find where I read it, but there was a lone voice that raised concern about the free streaming of concerts as giving away too much -- citing what happened to the music industry as a consequence of free sharing in bygone days.
Nobu's online concert -- charging a modest fee for live streaming and 2-days of on-demand viewing afterward -- is a bold and innovative move that I applaud, with one exception: To sign up for the streaming by ePlus, one has to register with them, and a Japan mobile number and credit card is required-- that effectively excludes all of us who live outside Japan, even though I for one would be more than happy to pay for the viewing pleasure.
I am happy for the success of Nobu's online concert. Instead of suffering in silent desperation, the support team of Nobu took a chance. The revenue from the concert might have been modest, but it keeps Nobu and his staff active, and his fans in Japan happy. Except for some minor technical glitches (such as on the 2nd night when the access demand overwhelmed the system at the start), the online distribution apparently has worked well. This is an impressive accomplishment by a small team turning to online technology for the first time. The team was also successful in generating media attention, apparently through press releases as well as invitations to media representatives to attend and write about the concert.
In a previous article, Avex manager Hiroyuki Nakajima, President of Avex Classics International, is quoted as saying: "[By doing the online concert] we are able to cultivate a younger audience than in the actual concert. If we can develop both concert and online, we can expand our fan base." Brilliant!
And, as mentioned in the aforementioned article, the team now plans to stream the upcoming concerts -- such as Nobu's The Best Recitals this September and the Ark Classics at Suntory Hall this October (featuring Nobu and violinist Fumiaki Miura) -- where social distancing is required. The online streaming can then be a supplementary income, to compensate for the reduced audience size.
My hat is off to Team Nobuyuki Tsujii. Bravos, bravos!
There is no comparison to Nobu's live performances. I yearn to be able to travel to London, Berlin or New York City for Nobu's piano, as I have done during the last decade. But the world has changed. It is clear now that we will be living with the Corona Virus for a long time. At the rate things are going in the States, my carefree traveling days may be a thing of the past ... at least for some years to come.
Honestly, I would gladly pay for the privilege of online viewing of Nobu's concerts. So, please ... Team Nobuyuki Tsujii... please do make the online distribution available outside Japan!! Thank you in advance.