【悲報】ジョジョ作曲家田中公平「アニメやゲームのオーケストラコンサートで明らかに手抜いて演奏してる奏者が多い」

Classical music has never paid for itself. Ticket sales cover roughly a third of an American orchestra's budget, and that's the healthy ones. Since 2010, orchestras in Philadelphia, Louisville, Honolulu, and Syracuse have all filed for bankruptcy. Then gamers started buying tickets. The model was always subsidy. Beethoven lived on an annuity from three Viennese aristocrats. Wagner had a Bavarian king paying his debts. The modern version swapped princes for donors and endowments, but the arithmetic never changed. The music on stage loses money and someone rich covers the gap. Video game concerts broke that arithmetic. The Legend of Zelda's Symphony of the Goddesses sold out most of a world tour. Final Fantasy VII Rebirth sold out the Royal Albert Hall. Sonic filled London's Barbican for three straight nights. Same players, same halls. Different composer names on the program, and suddenly the box office covers the cost. The audience explains why. The average classical subscriber is near retirement age and the field loses old attendees faster than it gains young ones. The Zelda crowd shows up in their teens and twenties, some in costume. A Royal Philharmonic poll found more young people now discover orchestral music through games than through live concerts. So the annoyance is aimed at the wrong people. Koji Kondo and Nobuo Uematsu built the biggest onboarding funnel orchestral music has ever had. The 19-year-old hearing a 90-piece orchestra play Zelda tonight is the only plausible Mahler subscriber of 2046. Haydn needed a prince to fund a symphony. Zelda fills the hall at face value. In 300 years of orchestral music, this is the first time the audience paid the whole bill.

— Aakash Gupta (@aakashgupta) August 3, 2026