On Friday night I had the good fortune to attend a Brighton production of Handel’s Messiah. Subsequently I discovered that this is a customary event in the UK with a multitude of performances of the Messiah all over the country. It seems a strange bit of music to have such pride of place just before Christmas, as the oratorio does follow the birth and death of JC, rather than just the normal nativity story.
The venue chosen for this rendition was St Nicholas Church, originally built in Norman times, but the current architecture dates from the 14th century. It’s situated about a hundred metres from the main shopping area and is proof that old and new can live happily together.
It’s close enough to walk, so after fortifying myself with a generous tot of whiskey, I ventured out into the zero-degree temperature outside. Nothing like a brisk walk up a hill to get warm, though. Entering the church already felt festive with candlelight flickering and a spot set up in the front of the church for the orchestra and choir.
What had attracted me was the fact that the orchestra, the Hanover Band, is widely acclaimed to be one of the finest period-instrument orchestras. Nothing beats listening to a piece played with the instruments for which the music was written. Add to that the Hanover Band Chorus and some fine soloists, and we were ready to roll.
The evening was lovely, the music fabulous, with a touch of surprise when the congregation jumped to its feet during the Hallelujah chorus. The Brits never cease to amaze and amuse me. One interpretation of the background to this weird bit of behaviour has it that the king for whom this piece was written had fallen asleep. The very loud chorus woke him and made him jump up, thus forcing the audience to do the same.
Idly looking at the audience during the interval, declining to scrum for a glass of wine, it was quite remarkable to observe the demographics. Average age, it seemed, was about 65. I felt positively spritely next to the walkers and walking sticks. Yet the choir was definitely in the category of spring chickens, with a cute youngster in the tenors bouncing around to the music as if he were at a rave.
If the choir was young, it surely meant that there was interest in this kind of music. So why the old-age home outing to the exclusion of young people? A one-fingered person would not have run out of fingers counting the young people. There was one young girl. I hazard a guess that she was probably the girlfriend of the bouncy tenor.
I was sitting next to the table at the entrance, and during the interval an elderly gent asked me whether I could tell him when the orchestra would have its next gig. As I had no idea, and none of the organising committee seemed to be around — probably also fighting for a glass of wine — I suggested he avail himself of the orchestra’s website for further info.
Did I get a mouthful on the fact that he had never touched the internet, and never would! It was as if Satan was about to pop out of the tube feeding into the back of the computer. I was too slow to suggest that I found the internet a lot more interesting than sitting glued to the telly. Another opportunity lost! That should provide a feel for the age and attitude of the audience.
Then today I came across an interesting article in the Independent that discussed the Royal Opera House and its foray on to Facebook, and I saw a glimmer of hope to entice the youth back into classical music. I say back, because during the lives of some of these venerable composers such as Handel and Vivaldi they were as famous as the Spice Girls and got mobbed at performances by all ages and sexes. Well, maybe not the Spice Girls, exactly.
And just as an aside, the latest winner of the British reality TV competition entitled Britain Has Talent was a wannabe opera singer. Apparently his debut CD, One Chance, has sold exceptionally well. Considering this is a popularity contest with a fair share of the vote being held by the public, it is an indication that opera is not dead. Possibly Pavarotti did his bid to rekindle interest. Watch Paul Potts impress the judges at his first attempt.
The innovative CEO of the Royal Opera House, or ROH, has a background in media having held the top post at BBC News before finding his way to managing the famous opera house. Tony Hall has introduced video clips of shows on YouTube, podcasts on the ROH’s website and a Facebook profile that includes pictures of current productions. In addition, outdoor big screens often show live relays of Covent Garden productions. His aim is to take classical music, opera and dance to the public.
There is no doubt in my mind that young people will enjoy classical music. One reason why they are not attending concerts is the high ticket prices. Besides this, organisers of classical events and venues need to find the common language to speak to these young people: SMSs would work, Facebook is good, ads in movie theatres, a presence in Second Life and more. Let’s get creative and find out how to talk to young people to entice them back to the good stuff.
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