Along with coughing, talking, mobile phones and rustling lolly wrappers (which recently inspired a bout of fisticuffs at a concert in Sweden), clapping between movements at classical music concerts is highly contentious.
But it wasn’t always this way. Before the rise of the symphony in the late 19th century, composers might expect audiences to be clapping, chatting, eating, playing chess, or even having sex. Mozart wrote music knowing that people would be clapping, even repeating sections so people would clap again.
Contemporary audiences are divided. In an informal poll of ABC Classic audiences, most people weren't fond of clapping between movements. Naysayers felt it interrupted the flow and the emotion of the music, or broke the mood intended by the composer. Pro-clappers argue the prohibition against clapping makes classical music too elite and stuffy. They felt a need to show performers their appreciation.
We asked some top classical performers their thoughts on the issue.
How do musicians feel about clapping?
For pianist Sally Whitwell, "I simply like knowing that the audience is enjoying the concert. If that means they are holding their breath so as not to break the magic of a still moment, then that's great. If it means they want to stomp and cheer for the sheer joy of something bombastic and over-the-top, that's great too."
"I simply like knowing that the audience is enjoying the concert."
If you’re at the ballet or the opera, clapping when you feel like it might be more appropriate than when you’re watching an orchestra. "It is absolutely fine to clap during opera," said opera conductor Renato Palumbo. According to Erin Helyard (Artistic Director, Pinchgut Opera) "I wish people clapped more in opera and ballet, that is for sure."
Conductor Benjamin Northey expressed that audiences should feel free to clap, though admitted there were some works that are better uninterrupted. In those cases he suggested conductors or performers could request audiences to hold their applause in these cases.
Similarly, Whitwell put the onus on performers to take responsibility for holding audiences captivated. "Such 'inappropriate' audience responses are actually my fault, because I didn't hold them, didn't focus strongly enough on the silent moment that I wanted them to feel with me."
Does clapping disturb performers?
For Northey, musicians love applause. He sees performances as a dialogue with the audience. "It is affirming to know that audience members are appreciating the performance, [and] often very energising for those on stage." Helyard agreed:
"The sound of applause is one of the most wonderful things you can hear as a performer."
In opera, conductor Tahu Matheson said, "I never feel that it detracts from the piece, or that it stops the drama." Palumbo suggested conventions at the opera have changed over his career. "Years ago, the public knew very well the right time to applaud. Today the public sometimes is shy and sometimes does not want to applaud for fear of disturbing."
Are clapping conventions different around the world?
Just as conventions for clapping have changed over time, and might differ between concert forms, it seems that there is variation from country to country.
Palumbo, who hails from Italy and is currently working with Opera Australia, observed some differences. "The Australian public is attentive and respectful not only to music but ... to all the elements that are part of the opera that must tell, educate and elevate the spirit."
Recently touring in China, Mezzo-Soprano Kristen Leich couldn't recall applause after arias, and the conclusion of the opera saw a long silence followed by applause. For her, the most significant difference was the audience use of mobile phones. "During the curtain call, the auditorium was awash with mobile devices …
"The scale was incredible — it's what you'd expect for pop stars."
Helyard has observed differences across Europe. "If you go to Russia today people clap all the time throughout the ballet there, and in Italy they are vociferous at the opera."
Some advice on clapping
The consensus from the performers we spoke with was that if you feel moved to clap, you should, especially if performers have done something moving or astounding. Don't worry if it's the "wrong" time.
Northey expressed his concern rules around clapping were a bit outdated: "They can often make inexperienced concert-goers feel unwelcome." For Helyard, at the ballet and opera clapping makes for better performances.
"They want to hear applause and they will give you a better performance."
Matheson confessed that he had sometimes succumbed to the desire to express his appreciation through applause. He also acknowledged that it can be intimidating to be the first person to clap, but suggested courage. "…live on the edge, take the leap, and let the performers know how much you are enjoying it!"
If you're worried, Northey suggests you could take your cues from fellow audience members.
Still confused? Or worse, have been on the receiving end of some disapproving stares for your clapping? Whitwell offers her support: "Haters gonna hate. If you dare to express yourself and are admonished for doing so, send them to me, and I'll deal with them.
"Seriously, it's 2019, just enjoy the music and express that joy as you see fit."
