In conversation with Maestro Denis Mastromonaco, Music Director and Conductor of the Mississauga Symphony Orchestra, about the impact of COVID-19 on large ensembles and the future of symphonic performances.

1. Which one aspect of your industry will see the longest-lasting repercussions of the global health pandemic? 
Although this is just speculation, I would say many large performing ensembles may see a decline in audiences that are not comfortable returning to concerts.

2. How do you envision in-person performances reemerging post-COVID-19? 
Like many parts of society, this will be a phased re-opening. I expect restrictions on gatherings at first, which would translate into a smaller orchestra and audiences being allowed. This would mean potentially altering programs to suit the size of the orchestra until a time when all restrictions are lifted.

3. How do you see rehearsals happening once we've recovered? 
As with performances, rehearsals will depend on the restrictions in place.

4. Is performing to an approximately 50% capacity audience (to support physical distancing) something you would be open to? 
Smaller capacity restrictions will most likely be a reality, and producing a performance would have to be financially viable. Many don't realize that we need to have anywhere between 60-70% of the hall full just to break even, depending on the type of concert of course. This would make restrictions of say 30% capacity almost impossible to produce a break even concert.

5. Online sales of instruments and music creation software are thriving - will COVID-19 create a new generation of musicians/artists? 
Although isolation has brought about a virtual music world, from new software to online instrument sales, I think that is all temporary when it comes to a new generation of artists. It may cause a shift for already established artists to move to a virtual platform but I don't think it lends itself to developing new artists, in particular, classical artists.

6. What positives can come out of this for your industry? 
In the short term, some old guys like me are learning how to get around on virtual platforms, or go nuts trying.

7. Would you consider holding a virtual performance with half your orchestra?
A streamed performance is possible, but the cost of producing with no revenue is a problem. Also, the importance of a shared experience is again lost without a live audience. In the long term it would mean having to fight for people's online time, that is, we would be competing against Netflix, Disney and anything of the like. Beyond that, the art of leaving one's home and attending a live performance would sadly be lost.

8. What can the community do to support the MSO during the pandemic? 
For now, the best thing is to keep the MSO on your radar and keep tabs on us. In the future, when we are able to return to performing, the best way to support us is to attend our concerts and bring new audiences with you. We will need to replenish lost audiences and hopefully grow a new community of supporters.

Maestro Denis Mastromonaco has over 20 years of experience in conducting and teaching both symphonic and operatic groups. He has worked with orchestras nationally and internationally, including New York’s Orchard Park Orchestra, Czech Republic’s West Bohemian National Orchestra, and the National Academy Orchestra of Canada.
A graduate of the University of Toronto, Maestro Mastromonaco obtained a Master of Music Degree in Orchestral Conducting from the State University of New York, attaining summa cum laude honours. Mastromonaco also holds diplomas in conducting from the Wiener Konservatorium, the Salzburg Mozarteum, and the Accademia Musicale Chigiana in Siena, Italy. Maestro Mastromonaco is a strong advocate for music within the community.

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