By the middle of last year "geography was no longer an issue" for inspiring audiences, but broader challenges remain.
Interest in orchestral music is growing in the regions and among traditionally less engaged audiences.
New public engagement research from the Royal Philharmonic Orchestra (RPO) says the digital pivot during lockdowns "proved to be a true democratiser", so much so that by mid-2021, when the cultural sector was reopening again, "geography was no longer an issue".
About one in five people across all UK regions expressed an interest in orchestral music. Interest among orchestra fans remained highest in London at 39%, but has fallen since the pandemic, leading to greater parity across the country.
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The biggest growth has been amongst the 18-to-35 age brackets and ethnic minority survey respondents, 60% of whom said they were interested in experiencing classical music, more than the national average of 58%.
The RPO's report called it "perhaps one of the most significant – and potentially lasting – improvements in enhancing inclusion and diversity" in the genre.
"Supporting orchestral music must now become a priority among policy makers and trade bodies because local access to affordable concerts is a cornerstone of cultural inclusion and investing in the revival of regional venues will contribute tangibly to local communities and economies," it adds.
Relationship of trust
One in four respondents said they wanted to get back to concert halls by the end of July 2021, with three times as many young people eager to hear live music again.
"One of the things we have found since returning to live music is the sense of it being an event," RPO Managing Director James WIlliams said.
While 26% of orchestral music fans turned to the genre for comfort amid a popularity spike during the lockdowns, Williams said orchestras need to offer more of an experience than "watching at home on Sky Arts and drinking wine".
Catering to younger audiences' tastes is necessary to build on their interest and willingess to return to concert halls: "We've just got to provide those rungs to move up the ladder," Williams said.
"It's really focussed our mind as an orchestra; how do we welcome audiences into a venue?
"Selling a programme of music that's less known can be a challenge but we can't go on playing Tchaikovsky No. 5.
"I think it's about building a relationship of trust with the audience that they're going to get a quality experience."
Infrastructure needs
One of the challenges to building that relationship is a lack of infrastructure outside of London.
Venues, equipment, resources, promotion and a local desire to encourage orchestral music starting from early education are crucial, but not always present. Some councils and local partners "are easier to have conversations with than others", Williams commented.
Bold programming decisions are not always welcome, with local authorities often more comfortable with long runs of well-worn repertoires.
"If we are going to make a success of something we want a partner who will present us in the best possible way to that audience.
"Partnership work tends to be difficult work and that's something that's missed by funders who think you can just wave a magic wand.
"If there's genuine commitment, there needs to be investment and infrastructure to achieve that."