thu 19/12/2024

The BBC's new TV dawn for the Proms | reviews, news & interviews

The BBC's new TV dawn for the Proms

The BBC's new TV dawn for the Proms

For the 2010 Proms, the BBC has introduced new techniques and new technology

Paul Lewis, Beethoven specialist and pioneering subject of the Q-Ball camera

For the couch-bound classical music lover, keeping up with the Proms is pretty straightforward. Step one: open bottle of agreeable claret. Step two: turn on Radio 3 and listen, or watch selected Proms on BBC Two or BBC Four. Or, indeed, catch up on the iPlayer. But needless to say, there's a colossal amount of work going on behind the scenes to make it all happen.

For the couch-bound classical music lover, keeping up with the Proms is pretty straightforward. Step one: open bottle of agreeable claret. Step two: turn on Radio 3 and listen, or watch selected Proms on BBC Two or BBC Four. Or, indeed, catch up on the iPlayer. But needless to say, there's a colossal amount of work going on behind the scenes to make it all happen.

An experimental innovation is the Q-Ball camera, operated backstage using remote controllers, and allowing hitherto unknown access to classical performances.

Share this article

Comments

The quality of the video pictures reminded me of our holiday pics. What is in the BBC's heads? I thought they were professionals and that was why we all pay for a TV licence. Many amateurs have better quality cameras than this. Amateur Night at The Movies.

Congratulations to everybody involved with the RLPO Prom production, which was without doubt the best televised work of all time. The Direction, Production and camera work were magnificent. I have watched televised Proms for very many years have never seen such an exciting production that gave the viewer greater insight into the music and its performance than anybody in the Hall could have had.

If you needed evidence of the 'new approach' being a success, you only neede to look at Friday's Prom with Mosolov and Part in the first half, which were brought to life in a truly incredible way by the Orchestra and, particularly, the incredible camera work that supported the performance every inch of the way. Once again, congratulations to everybody involved.

Add comment

The future of Arts Journalism

 

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters