David Selig’s article on The Classical Brits 2004 made me laugh out loud. It is the first sign of opera-associated humour that I have come across since sticking my nose into this esoteric world some twelve months or so ago. And now, as a persistent operatic ignoramus (see ‘A Load of Old Tosca’), I was equally delighted by the immediate reaction from John Stokes.
“Good oh!” I said to myself. “Squabbles and healthy doses of politely packaged vitriol abound here as elsewhere.” I felt myself warming to the industry in a way I have found difficult with the art form.
David Selig’s observations about the relative merits of various artists at The Classical Brits (and even one who wasn’t!) struck me as accurate. I mean, come on, even I can hear the difference between Aled Jones and Bryn Terfel, their shared influence of the Chapel notwithstanding. And yet… and yet, John Stokes’ vigorous defence of a ‘business’ approach to opera has the benefit of logic on its side. I am a business man myself (admittedly in a somewhat minor key), and quite understand the commercial pressures on this or any other industry. “Business is business!” as me old granny used to say.
And I recognise that, even these many years post-Thatcher, we still live in a world where market forces reign more or less supreme. ‘Bums on seats’, classical album chart positions, TV and Classic FM exposure – all are valid criteria for assessing the commercial value of the operatic product. Mutatis mutandis, we could apply the same criteria to any product.
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But, is that all opera is about? If it is, I suspect my clumsy attempts to get to know it and to appreciate it are wasted. Do I only want to marvel at the voice of a vaguely pubescent Charlotte Church simply because it’s so outlandish to hear such a noise emerging from the mouth of a slip of a girl? And, there are clearly others following in her wake: young, pretty-ish but not threateningly so, with a modicum of talent and a flair for showmanship. Great stuff for what it is, but it leaves me feeling uneasy and slightly cheated. Where is the challenge for the listener? It’s all too easy. Just because the majority of us are operatic plebs, that’s no reason to give us second best, and it’s no reason at all - in fact, it’s unforgivable, in my opinion – for the industry to offer only second class fare and, moreover, to seek to justify that approach on the basis that ‘it’s business’. Here’s a culinary analogy: I own a small restaurant in the North West Highlands back of beyond, but we don’t serve chips and we do quite nicely, thank you!
Yes, populism has its place, perhaps even at The Classical Brits, but in concentrated form it is perhaps better offered to the nation as ‘Big Brother’ or ‘Top of the Pops’. It is only partially true for John Stokes to opine that, “If you want the money, make a product that will appeal to the millions and not to the thousands.” (Chips again!) I would ask him: is there not a duty, a responsibility, almost a moral obligation, for the opera industry to promote excellence, to educate the market, to innovate, to take risk, to encourage talent and not always to go for the safe, lucrative option? Chips with everything, and dumb chips at that? Yuk!
Charles Taylor
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