It’s easy to find the definition for “standing ovation”. Actually, almost anyone could describe it without the benefit of a dictionary. It’s obvious.  But in case you want to benefit from the formal definition; A standing ovation is a specialized form of applause, where, in addition to clapping and perhaps cheering, members of a seated audience will rise to their feet and applaud.

A standing ovation is generally given by the audience when their approval of a performance is above and beyond that which would elicit normal seated applause. But what determines what merits normal seated applause and what demands approval above and beyond that?

Many, if not all of us have attended performances of various types where what would normally be understood as appropriate approval and response appears to be irrelevant. At particular times, in all of our experiences, it has been obvious, that a personal investment on the part of the audience has created a mass movement of response unmerited by the actual performance. For illustration we need only review the original footage of a Beatles Concert circa 1963. Who could have possibly heard what they were actually singing, and yet the audience was wild in response. Or how about those precious youth recitals where adults, who though generally reserved and conservative in their usual demeanor, suddenly become unhinged with emotion at their child’s appearance on the stage?  Despite the flat notes, missed cues, forgotten lyrics and wandering attention, the child is treated to a reciprocal performance, more fervent than the original, that of their of their parents apparently overwhelmed with passion at their child’s brilliance. And although we may not be moved to join them in their salute, admittedly we find our applause becoming a little louder and longer as we share in their raw expression of love and admiration.

At times the standing ovation is simply customary, given on special occasions or events to signify that certain persons are considered distinguished. When the president of the United States arrives for the annual State of the Union Address, he is met with thunderous applause and all seats are emptied in honor of his position and intended purpose of that evening.  In the same way, a well known and loved soloist may be honored with a standing ovation as they step onstage and before they have even sung a single note.

The level and degree of our applause is meant to deliver a message. “We loved what you did and how you did it”, and not necessarily the skill with which it was done.  It brings to mind the last performing years of Frank Sinatra when he would sing his old favorites to a theatre filled with long-time fans.  Although declining health and age had sapped the vigor out his delivery, the audiences remembered how it used to be. Mr. Sinatra was, to the last, given many a standing ovation by his devotees, in tribute to his many years of sustained excellence. The true message; that in their eyes, he was still “The Boss”.

I have been to performances, where the standing ovation may also take on more meaning than to simply distinguish the performer.  At times I have seen the ovation used as a political statement. The performer speaks a daring opinion and the audience signals their agreement by rising to their feet in enthusiastic approval. And consider the emotional response to a song sung patriotically in the midst of war or civil conflict. The beloved notes and lyrics may cause the audience to rise and show their alignment with the cause in a way they could never express verbally. For those of us who have watched “The Sound of Music” we may recall the scene where the Von Trapp family is performing at the festival prior to their eventual escape. As Captain Von Trapp takes the spotlight to divert attention from his family, he boldly strums the guitar and sings Austria’s national anthem despite the threatening presence of the Nazi soldiers. As he sings, the festival attendees rise to their feet and join in the singing in defiance of the surrounding threat. At the end they remain standing and applauding, captured by the emotion of their rebellion.

In case any of us is curious as to whether we are worthy of that grand acclaim, there is an objective way to find out. There are, in fact, professional organizations available which will evaluate and provide suggestions for improvements in performance.  Many of these services may be found online, and will provide, at your request, volunteer evaluators. For example, online we find The Society for the Preservation and Encouragement of Barbershop Quartet Singing in America (SPEBSQSA).  The Society will provide an expert trained Reviewer who’s purpose is to “find the elements of your performance that leads to standing ovations”, and to provide feedback  in complete confidentiality. The goal of the Society is to assist performers in achieving that special impact that will thrill an objective audience and bring them to their feet. Their Review Program is available to both quartets and choruses, but not for single song appearances. And since the ability to reach the audience is, of course, the goal of all those performing in a contest, this kind of service and feedback may indeed be invaluable to some.

In a perfect world we would all deserve at least one or two standing ovations. To be recognized for our efforts, especially something we’ve invested our hearts in, is a sublime reward. But in case this never happens, and we are left still desiring that much coveted appreciation, there is a last resort.  We can go online to www.playfair.com and download one for ourselves!!!