Friday’s spectacular Olympic opening ceremony was memorable for many reasons, but not least for its use of classical music. With the ceremony being praised for its rock-and-roll credentials, it would have been quite easy for Danny Boyle to marginalise classical music. Instead, however, it was an integral part of the ceremony. Saturated with British character and imbued with humour, this was classical music that appealed to the whole nation and beyond.
Combining Elgar’s ‘Nimrod’ and Parry’s ‘Jerusalem’ with massed drummers led by Dame Evelyn Glennie and Sir Simon Rattle attempting to conduct Mr Bean, Danny Boyle effectively shed the stereotypical associations of classical music. Although a million miles from the explosive quality of Beijing’s opening ceremony, our approach cannot be criticised for lack of impact. Whether it was the earth-shaking noise of the
drummers of the spellbound audience during a capella performances, the ceremony was definitely engaging.
Pitting professional alongside amateur musicians, the ceremony showed that classical music could be for everyone. The innovative generic hybrids showed that classical music needn’t be confined to the concert hall, and reinvigorated its potential for comedy (reminiscent of
André Previn’s 1971 sketch for the Morecambe and Wise show). Suggesting new possibilities that delighted both young and old, the ceremony acted as a utopian vision for classical music.
Perhaps Boyle’s most impressive musical achievement was his placement of classical music next to pop, punk and rock. Classical broke out from its often marginalized position in today’ culture, dominating the dance act Underworld’s Industrial Revolution section. It showed that it could laugh at itself (Rowan Atkinson as Mr Bean with the London Symphony Orchestra), loosening and subverting its traditional associations. But
it did it without compromise. With Sir Simon Rattle, Dame Evelyn Glennie and the LSO among those taking part, Britain’s world-class musicians were proudly displayed. Boyle even managed to slot in references to the BBC Proms (through the appearance of Daniel Barenboim) and the choral tradition (with performances from multiple choirs). It was the lack of discrimination between genres that seemed most impressive, however. The message seemed to be that any music is valuable, and should be celebrated.
Since the ceremony, sales for BBC Prom concert tickets and albums of the other artists featured in the spectacle have soared. Perhaps, then, more engagement with popular culture is needed. Continuing to hide itself away in the concert hall won’t widen the audience for
classical music, but challenging its boundaries and reaching out for new possibilities might.
Katy Wright 