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    King Charles’s Coronation: A British TV Spectacle for the Digital Age

    King Charles III’s coronation will be disseminated across numerous platforms to a less sympathetic public than when his mother was crowned in 1953.The mystique around the British royal family — so essential to the nation’s acceptance of its hereditary and privileged first monarchy — has always drawn its power from a blend of secrecy and symbolism that combine in impeccably choreographed spectacle.On Saturday, the regal alchemy will be conjured anew at King Charles III’s coronation at Westminster Abbey in London. The spectacle has been years in the planning, not simply as an event in its own right, but also as a moment in history intimately entwined with its onscreen projection around Britain and across the globe.The coronation will be the first since Charles’s mother, Elizabeth II, who died in September, was crowned in June 1953. Hers was the first coronation to be transmitted live and in full at a time when televisual broadcasting was still a novelty, and it initiated a long era of increasingly close coordination between Buckingham Palace and the BBC, Britain’s public broadcaster.Areas for the media to use during Charles’s coronation have been erected in front of Buckingham Palace. The event will be projected around Britain and across the globe.Press Association via AP ImagesAnti-royalists have complained bitterly that, as Graham Smith, the head of a campaigning organization called Republic, said in a recent statement: “The BBC routinely misrepresents the monarchy and public opinion. They suggest the nation is celebrating major events when that simply isn’t the case.”While the BBC rejects these claims of partiality, there is little doubt that as digital technology has advanced over many years, the broadcaster’s royal coverage has become ever more sophisticated and comprehensive. The medium, in other words, has facilitated a kind of blanket coverage of a message that would not have been possible in the 1950s.In 1953, the queen’s coronation unfolded in a nation in thrall to a newfangled miracle called television. British baby boomers, many of them small children at the time, like to recall that television in those days meant a small black-and-white screen in a large wooden cabinet broadcasting a single channel. The British establishment — including its nobles and priests, as well as the BBC — wielded exclusive control of the monochrome footage that would mold a generation’s memory of the event.Makeshift antennae were thrown up on hilltops to link the various parts of the British Isles to the central broadcast unit in London. In the presatellite, predigital era, British Royal Air Force bombers flew raw film of the coronation across the Atlantic for broadcast on American networks.In New York in 1953, crowds gathered around televisions broadcasting the queen’s coronation. British Royal Air Force bombers flew raw film of the event across the Atlantic for American networks.Getty ImagesSome members of the British hierarchy wished to keep cameras out of the inner sanctum of Westminster Abbey, where the queen was crowned. “The world would have been a happier place if television had never been discovered,” the Most Rev. Geoffrey F. Fisher, then the archbishop of Canterbury, who presided over the queen’s coronation, was quoted as saying.Even today, King Charles has resolved to follow his mother’s example by banning cameras from what is considered the most sacred part of the coronation service, in which he is anointed with what is called the oil of chrism.But much else has changed. When Elizabeth was crowned, “Britain was marked by extreme deference,” Vernon Bogdanor, a constitutional expert at King’s College, London, said in a recent interview. “The monarchy was thought to be magical and untouchable.”Since then, the royal House of Windsor has changed radically from “a magical monarchy to a public service monarchy,” Bogdanor said, and “is judged by whether it contributes to society, and if it doesn’t, people won’t have it.” King Charles, he added, seems “well aware of that.”For the king, a helter-skelter technological revolution has transformed every smartphone owner into a pocket cinematographer, hooked to a multiplex world of apps and platforms, uploads and downloads. Where his mother’s crowning bathed the monarchy in uncontested splendor, Charles’s challenge is to focus a much more diffuse spotlight.While Elizabeth’s coronation required only around 20 cameras, Charles’s crowning is set to be broadcast on the BBC’s hi-definition iPlayer streaming service, alongside television coverage. In advance of the coronation, other television offerings — including a soap opera, a sewing program and a show usually devoted to rural life — will be broadcast with coronation-themed episodes “to mark history with an unparalleled breadth of programs,” said Charlotte Moore, the BBC’s chief content officer. Regional affiliates of the BBC, its many radio channels and rival commercial television broadcasters will also have programming on regal matters.With her sparing television addresses and her tight adherence to the royal script, the queen seemed to generally balance the monarchy’s need for visibility with its enduring aversion to scrutiny. But the rest of her family has fared very differently onscreen.“The public eye is grown more unforgiving, its gaze, like its judgments, more relentless,” Catherine Mayer wrote in “Charles: The Heart of a King,” a biography updated last year after its initial publication in 2015. “Even so, if the Windsors wish to see the biggest dangers to the survival of the monarchy, they need only look in the mirror.”From left, Queen Mother Elizabeth, her grandson Prince Charles and his aunt Princess Margaret at Queen Elizabeth II’s coronation. Charles was 4 at the time.Intercontinentale, via Agence France-Presse — Getty ImagesSince the mid-1990s, when the estranged Prince Charles and Diana, Princess of Wales, gave television interviews to seek sympathy for their divergent versions of their marital woes, culminating in divorce in 1996, efforts by members of the royal family to advance their agendas on television have proved ambiguous at best.In 2019, Prince Andrew, Queen Elizabeth’s second son after Charles, gave a lengthy television interview to try to rebut accusations related to his friendship with the convicted sex offender Jeffrey Epstein. The interview set off a public relations disaster, leading to Prince Andrew’s withdrawal from public life.Then, in March 2021, Meghan Markle and Prince Harry appeared in a joint interview with Oprah Winfrey, screened in the United States and then in Britain, after their decision to live in California and step back from their roles as senior royals. The interview touched on a range of topics including mental health issues, intimations of racism in the House of Windsor, and the couple’s sense of dislocation, betrayal and vulnerability.But cumulatively, the airing of grievances, like Prince Andrew’s litany of self-exculpation before it, bolstered the sense of a dysfunctional and anachronistic institution held in place by a fickle mix of public tolerance, inherited privilege and fabled wealth. In the run-up to the coronation, one question eagerly pursued by British newspapers was whether Harry would attend the most important public event in his father’s life on May 6. The answer: he would, but without Meghan and their two children.For Charles, the recent redrawing of the media landscape and the public mood offer perils that were barely dreamed of when his mother was crowned.Charles and his son Prince Harry in 2019. After much speculation in the British press, it was announced that Harry would indeed attend the coronation, but without his wife, Meghan Markle, and their two children.Samir Hussein/WireImage, via Getty Images“Because the royals have ended up co-opted into the culture wars,”‌ Mayer, the author, said‌ in an interview, “one word out of place — and, let’s face it, that’s a family that specializes in words out of place ‌ — will have gone round the world and back in a way it never would have before.”‌ More

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    Charles III’s Coronation: Music That Made Kings and Queens

    The coronation ceremony of King Charles III and Camilla, the queen consort, on Saturday has been described as a millennium-old tradition of pomp and circumstance, reaching back to Charles’s most distant forebears.But while the service and liturgy of the coronation of English and British monarchs stretches back to the 10th century, the tradition of its sound is far more recent — and less noticed. Many of the accounts of coronations before the 19th century have been lost, and the ones that remain make very little mention of music, if at all.The sound of the British coronation that has become so affixed in the cultural landscape is, in fact, a 20th-century invention, in a concerted effort to present the past as the present.Charles III has commissioned new works for his coronation, adding to the rich tapestry of pieces composed for the occasion. Here is a brief history of that music, exploring the sound of the divine right of kings.A scene from Elizabeth II’s coronation. The sounds of this royal ceremony are largely an invention of the 20th century.Getty ImagesEarly CeremoniesThe first coronation of an English monarch that resembles what we see today was for Edgar in 973. This coronation provided the overall structure that has been filled out since the 10th century: the procession and recognition, the oath, the anointing, as well as the investiture, enthronement and homage. The coronation itself is a religious ceremony, centered around the Eucharist, and so, from 973 to 1603, the coronation ended with a Catholic mass.In 1382, the “Liber Regalis” (“Royal Book”) was written to provide a detailed account of the coronation order of service, likely for Anne of Bohemia. The book provides the coronation text but gives no information on the music itself; coronations would have music composed specifically for them, and some works only became fixed in later centuries. The first coronation music was likely sung chants, which, starting in 1603 with the coronation of James I, were refashioned into coronation anthems now with English text.James II, 1685Music by more familiar composers appears with the coronation of James II. One of Henry Purcell’s settings of “I was glad” is used for the entrance anthem. Also known by its Latin name, “Laetatus sum,” the text is a setting of Psalm 122. The anthem is in two parts, beginning with a bright and lilting section in triple meter marking James’s entrance into Westminster Abbey.As James ascended the stairs toward the Chair of Estate, the King’s Scholars from the Westminster School shouted “Vivat” (also known as the Acclamation); this was the first coronation where that tradition was present. The second section, now in minor and in duple time, acts as a solemn prayer of peace and prosperity for the monarch and the nation. The section ends with the “Gloria Patri” (“Glory be”), and it is this Purcell version that inspired the tripartite structure for C.H.H. Parry’s setting of “I was glad” in use today.George II and Queen Caroline, 1727George II’s coronation is perhaps best known for introducing George Frideric Handel’s coronation anthems, including “Zadok the Priest” (HWV 258), along with several others. It is unknown, however, where in the service each coronation anthem was performed. “Zadok the Priest” sets text from 1 Kings 1:38-40, text that has appeared in some form at every coronation since Edgar.The anthem begins with a lengthy orchestral introduction, building tension up to the entrance of the choir, accompanied by pealing brass and timpani. It is believed that the introduction was written to help provide flow in the order of service, specifically giving time for the monarchs to change robes in preparation for the anointing. The anthem also includes the acclamation “God save the King! Long live the King!” — linking the anointing to the later acclamation from the Homage of the Peers, where those with hereditary titles swear fealty to the monarch.Victoria, 1838The coronation of Queen Victoria is the first time the entire musical service is transcribed, in part because of George Smart, who was in charge of the coronation’s music. The service features the Handel coronation anthems “Zadok the Priest” and “The Queen Shall Rejoice,” as well as the Hallelujah chorus from “Messiah,” which took place after Victoria received communion. The reliance on Handel and the lack of new musical material — except for one new anthem, “This is the day,” by William Knyvett — resulted in widespread criticism of the service, with The Spectator writing that “the musical part of the service was a libel on the present state of art in this country.”Edward VII and Queen Alexandra, 1902It is with Edward VII’s coronation that music becomes a significant part of the service, by royal decree. Frederick Bridge, in charge of the music for the coronation, wrote that “the King was most explicit in declaring his Command that there should be no curtailment of the musical part of the service,” when cuts were being made to shorten the service because of Edward’s health.For the first time, music was incorporated in the published order of service, including compositions performed both before and after the coronation. This featured marches by Wagner, Gounod, Saint-Saëns, Tchaikovsky and Elgar, whose “Imperial March” had been written for Victoria’s Diamond Jubilee in 1897. Within the coronation service, Bridge outlined a program that would connect centuries of English church music together from Tallis to Parry, aiming to highlight Britain’s imperial might by showcasing the long centuries of its artistic power.Bridge commissioned new coronation anthems for the service, notably “I was glad” by C.H.H. Parry and a new setting of the “Confortare” by Walter Parratt, Master of the King’s Musick. Both have since become staples in the coronation service. Parry’s setting of “I was glad” is resoundingly jubilant, opening with brass over a full orchestra in a fanfare, before giving way to the chorus’s unaccompanied entrance. Parry incorporates the vivats into the anthem; here they are sung by the choir, punctuated by brass echoes and snare drums, while excising the “Gloria Patri.” Parratt’s “Confortare” (“Be strong and play the man”) revived a text not used since the 17th century. Parratt’s arrangement takes the antiphon from recited chant to full chorus with fanfare-like brass accompaniment.Elizabeth II and Charles IIIThe accession of Elizabeth II prompted the idea of a new Elizabethan age, one that would rival the artistic, cultural and military achievements of the 16th century, connecting postwar Britons with the glory of their ancestors. The coronation showcased that idea by featuring music by the premiere contemporary British composers: Ralph Vaughan Williams, Arnold Bax, Herbert Howells, Arthur Bliss, George Butterworth, Gordon Jacob, Charles Villiers Stanford, Gustav Holst, John Ireland and William Walton.And at the most recent coronation, comparisons between Elizabeth II and Charles III are unsurprisingly being made. Composers writing music for this coronation include both expected and unexpected names, including Judith Weir, Master of the King’s Music; Tarik O’Regan; Paul Mealor; and Shirley Thompson; there will be a new coronation anthem from Andrew Lloyd Webber.Charles III’s coronation is set to usher in the new Carolean era, in the hopes that it will reflect its namesake Charles II and his contributions to art and music. Only the coronation and time will show if this new era lives up to that promise. More

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    ‘King Charles, the Boy Who Walked Alone’ Review: Reflections on a Monarch

    A sort of cinematic advance man for this week’s coronation, the documentary makes a show of seeking balance but often tips its hand in favor of Charles.Several times in this picture its interviewees attempt to contradict the impression that King Charles is an “old dry stick.” Hence the documentary, directed by Jim Nally, is juicier than its sad-sack title indicates. The “boy who walked alone” phrase comes from Johnny Stonborough, who was a schoolmate of the then Prince of Wales at Gordonstoun, a strict Scottish boarding school (referred to by some, says Stonborough, as “Colditz in a kilt”) where Charles’s father sent him to “toughen him up.” Not only did Charles not make many friends there, but he also endured bullying from upperclassmen under approval from the headmaster.Once out of school, though, he did rather well with members of the opposite sex. The picture teems with contemporary interviews with former Charles-daters who speak of his wit, his “cheekiness” and his delightful flirtatiousness. But even as he enjoyed himself on beaches and polo fields with women he was well aware he could never marry, he still kept his eye on one; the movie reminds us that he’d met Camilla Rosemary Shand when he was a teen, and he did not take his eye off her after marriage made her Camilla Parker Bowles.The movie itself highly approves of the match. About an hour into proceedings, there’s a spate of Princess Diana-bashing during which the phrase “not to speak ill of the dead” is never uttered. Near the movie’s end, a “royal journalist” and a “royal biographer” wax rueful that Prince Harry has lashed out at Dad Charles, who is maybe, in their opinion, the last royal to really care about the monarchy. Gosh. If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.King Charles, the Boy Who Walked AloneNot rated. Running time: 1 hour 30 minutes. Watch on Paramount+. More

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    Ticketmaster Finds Itself in a Royal Mess Over Coronation Concert

    Some British residents said they received misleading emails suggesting they had secured free tickets to the concert for the coronation of King Charles III at Windsor Castle.At five minutes past noon on Tuesday, Ticketmaster sent Joe Holmes and many others in Britain an email: “Congratulations, you have been successful in the ballot” for two tickets to King Charles’s coronation concert.Mr. Holmes, a student in his final year at the University of Essex, saw it immediately while checking his email and rushed to click the link to claim his tickets to the concert, an official coronation event that will take place a day after King Charles III is crowned — only to be met with a message saying that none were available.He was one of dozens of people who believed they had secured entry to the concert before being quickly let down once they tried to collect tickets. Many Twitter users posted screenshots of the same “congratulations” email Mr. Holmes received this week and expressed frustration about the confusing messaging; one user called the email “disgraceful” and said Ticketmaster had a “total shambles of a system.”It was “immediate excitement and then immediate disappointment,” Mr. Holmes said on Friday. He had already sent a screenshot of the email to his sister in celebration and believed his next step would be to book a train to the event.Ticketmaster was tasked with issuing 10,000 free tickets to the concert being held on May 7 through balloting, a process that fans are saying the site has made a mess of. It comes a few months after the company canceled the public sale of tickets to Taylor Swift’s latest tour because of high demand, which spurred public outrage, a lawsuit from fans and a Senate hearing.Ticketmaster said in an emailed statement on Friday that people who had been selected in earlier rounds of balloting had three weeks to claim their tickets to the coronation concert. On Tuesday, after that time had expired, “unclaimed tickets were released on a first-come, first-served basis to those who had previously applied and were unsuccessful,” the company said. “These inevitably went very quickly.”A tweet from the company’s U.K. page on Tuesday announced the tickets had “sold out.” Replies to the tweet included stories of experiences similar to that of Mr. Holmes.The application to be included in the balloting was open from Feb. 10 through Feb. 28. Tickets were to be allocated “based on the geographical spread of the U.K. population,” according to the British royal family’s website.Katy Perry, Lionel Richie and Take That will headline the concert, which is being organized and broadcast by the BBC. It is the first to be held on the grounds of Windsor Castle, the royal family said. Mr. Holmes, who said his mother traveled to London for the wedding of Prince Charles and Princess Diana in 1981, wanted to attend the concert to be present for “a part of history.”The email from Ticketmaster said Mr. Holmes was one of a “randomly selected group of ballot winners” offered tickets in a “supplementary round” that would be on “a first-come, first-served basis.” It urged him to “act quickly.” But farther down, it said he would have until noon on April 27 to claim the tickets, after which “they will be re-allocated.”Even so, Mr. Holmes said he acted within minutes to no avail. It was unclear how many tickets were actually available, or how many people received the same email about them.He searched Twitter and found many others who said they had a similar experience.Janine Barclay, 58, who received the same email on Tuesday, declined a lunch invitation for May 7 because she thought she was headed to a once-in-a-lifetime opportunity. “I was telling everybody about this,” she said on Friday, “and then I’ve got egg on my face.”She received the email while she was out of the house and put off claiming the tickets, thinking she had a couple of days. Ms. Barclay said she was grateful that she lived close enough to Windsor Castle that her instinct was not to book a hotel or travel.“They misled people,” Mr. Holmes said, but he added that he knew to expect disappointment in these situations. “We know how it goes with concerts these days,” he said. “It’s so hard to get tickets, it’s an event itself.” He plans to watch the concert on television at a family barbecue.Beyond bad blood with Swifties, Ticketmaster was criticized in March when fans tried to attend the final round of the Eurovision Song Contest and some complained that glitches left them ticketless. The Cure said last month that Ticketmaster agreed to issue refunds to some fans after they complained of high ticket fees.“It is a fiasco,” said Ms. Barclay, a swim coach and teacher in Pinner, England, who was excited to take her husband to the coronation concert. “For a big company like this,” she said, “you would have thought that they would have handled it better.” More

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    What We Learned From ‘Harry & Meghan,’ Part Two

    The second collection of episodes of the couple’s Netflix docuseries landed on Thursday. It dives deep into mental health and royal drama.LONDON — The second and final installment of “Harry and Meghan,” the highly anticipated Netflix docuseries, was released on Thursday, capping a week in which the couple’s personal lives were once again catapulted into the spotlight.The first three episodes of the series, released last week, dove into the makings of the couple’s relationship, their ongoing battle with the news media, the details of Meghan’s challenging family connections and more. Three more episodes were released Thursday.Love them, hate them or simply can’t live without them, people tuned in. The first set of episodes earned a staggering 81.5 million viewing hours, the most of any documentary in a premiere week, Netflix said on Tuesday. More than 28 million households had seen a part of the first collection of episodes in the first four days, the streaming platform added.Episode four picks up at Harry and Meghan’s wedding in May 2018 and quickly tackles a number of matters, including Meghan’s connection to Queen Elizabeth II, the barrage of negative headlines she faced and her mental health challenges.If you don’t have time to watch, or if you enjoy spoilers, here are the main takeaways from the latest episodes.The wedding was a family affair, although it was an international spectacle.The fourth episode kicked off by reliving the couple’s star-studded wedding in May 2018. Although thousands of people were on the street hoping to catch a glimpse of the couple, and perhaps billions more were watching on television, the couple described it as a family affair, with numerous personal touches that seemed to make all the difference.Harry chose the song (Handel’s “Eternal Source of Light Divine”) that Meghan walked down the aisle to. “It was so beautiful,” she said. It was also revealed that Charles, Harry’s father, who was the Prince of Wales at the time and is now king, helped choose the orchestra for the ceremony.More on the British Royal FamilyBoston Visit: Prince William and Princess Catherine of Wales recently made a whirlwind visit to Boston. Swaths of the city were unimpressed.Aide Resigns: A Buckingham Palace staff member quit after a British-born Black guest said the aide pressed her on where she was from.‘The Crown’: Months ago, the new season of the Netflix drama was shaping up as another public-relations headache for Prince Charles. But then he became king.Training Nannies: Where did the royals find Prince George’s nanny? At Norland College, where students learn how to shield strollers from paparazzi and fend off potential kidnappers.Because Megan’s father, Thomas Markle, did not attend the ceremony, she asked Charles to walk her down the aisle. “Harry’s dad is very charming,” Meghan said. “I said to him like, ‘I’ve lost my dad in this.’ So him as my father-in-law was really important to me.”Meghan’s connection to the queen seemed to be strong, normal even.The episode dwells on Meghan’s first official royal engagement with the queen, about a month after the wedding. She and the queen took the royal train to Cheshire, England.“I treated her as my husband’s grandma,” Meghan said, remembering her private time with the queen. “When we got into the car in between engagements, she had a blanket,” Meghan said, and that the queen placed the blanket also over her knees. “I recognize and respect and see that you’re the queen, but in this moment I’m so grateful that there’s a grandmother figure, cause that feels like family,” Meghan said.The constant and negative tabloid headlines had a dramatic effect on Meghan.The fourth episode also underscored the mental health challenges and suicidal thoughts Meghan had, in part because of negative headlines shortly after they wed and during much of her pregnancy.“All of this will stop if I’m not here and that was the scariest thing about it — it was such clear thinking,” Meghan said.Doria Ragland, Meghan’s mother, recalled an emotional conversation in which Meghan expressed suicidal thoughts. “That’s not an easy one for a mom to hear,” she said, wiping away tears. “And I can’t protect her. H can’t protect her.”Harry said he was devastated by the toll the negative press coverage took on his wife and said he didn’t deal with it well.“I had been trained to worry more about what are people going to think,” Harry said. “And looking back at it now, I hate myself for it. What she needed from me was so much more than I was able to give.”The couple’s war with the media reaches a fever pitch.The fifth episode begins with the couple’s continued war with the news media and efforts to dodge paparazzi photographers while spending Christmas 2019 away from the royal family.The headlines about Meghan appeared to be incessant, pushing the couple to a breaking point. “I realized that I wasn’t just being thrown to the wolves,” Meghan said. “I was being fed to the wolves.”The couple described creating a plan that they hoped would bring them both safety and peace of mind. “The toll was visible, the emotional toll that it was having on both of us, but especially my wife,” Harry said. “We’re going to have to change this for our own sake.”They described plans to relocate to New Zealand or South Africa before they ultimately settled on Canada. They later moved to California.Harry said his grandmother, the queen, was aware that he and Meghan were having difficulties with their public roles and made plans to discuss it in early January 2020 when he returned briefly to Britain. However, that plan was thwarted, they said.“I remember looking at H and going, my gosh, this is when a family and family business are in direct conflict because they’re blocking you from seeing the queen, but really what they’re doing is blocking a grandson from seeing his grandmother,” Meghan said.Strained family ties take center stage.In a family meeting to discuss the couple’s decision to reduce their roles as working members of the royal family, Harry said he was presented with several options but quickly realized no agreement would be reached.“It was terrifying to have my brother scream and shout at me, and my father say things that simply weren’t true and my grandmother quietly sit there and sort of take it all in,” Harry said.Harry described that meeting as hard and said that it finished without a solid action plan.“The saddest part of it was this wedge created between myself and my brother so that he’s now on the institution side,” Harry said, acknowledging Prince William’s perspective.The couple announced in January 2020 that they were stepping back from their royal duties. The decision sent shock waves around the world and drew headlines that seemed to blame Meghan for the split.“How predictable that the woman is to be blamed for the decision of a couple. In fact it was my decision,” Harry said.The queen later said she was “supportive” of the couple’s decision.This story is being updated. Check back for more. More