News bulletins were declaring the classical-record business dead, but I noticed strange spasms of life in the online CD and MP3 emporiums. When Apple started its iTunes music store, in 2003, it featured on its front page performers such as Esa-Pekka Salonen and Anna Netrebko; sales of classical fare jumped significantly as a result. Similar upticks were noted at Amazon and the all-classical site ArkivMusic. The anonymity of Internet browsing has made classical music more accessible to non-fanatics; first-time listeners can read reviews, compare audio samples, and decide on, for example, a Beethoven recording by Wilhelm Furtwängler, all without risking the humiliation of mispronouncing the conductor’s name under the sour gaze of a record clerk. Likewise, first-time concertgoers and operagoers can shop for tickets, study synopses of unfamiliar plots, listen to snippets of unfamiliar music, follow performers’ blogs, and otherwise get their bearings on the lunar tundra of the classical experience.
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