BBCSO
edward.seckerson
The problem with programming Charles Ives’s Fourth Symphony - and only the very bold and resourceful and/or the BBC are ever likely to do so - is that it eclipses everything, and I mean everything, in its proximity. And if it was my 90th birthday - as indeed it was on this day for the BBC Singers - I’m not sure I’d want to bask in its aura, especially since the world premiere commissioned for this big birthday - Kevan Volans's The Mountain That Left - had to be postponed due to the indisposition of its soprano soloist, Pumeza Matshikiza. This being the BBC Singers, however - a group for whom Read more ...
Sebastian Scotney
If only the Last Night of the Proms could just be about the music. If it were, then the story which I would want to tell would be about Janine Jansen. A crowd which mainly turns up to wave its vast array of flags, to bounce its beach-balls and generally to step free from the shackles of adulthood, was mesmerised into a concentrated hush by the magnetism of the Dutch violinist. She drew the huge audience right in to her playing. She made the cavernous Royal Albert Hall feel like an intimate space. She tamed the crowd and (almost, briefly) silenced the bronchially challenged.But the Last Night Read more ...
alexandra.coghlan
A Prom billed as “English Music” sounds like a restful sort of affair – probably pastoral, definitely tuneful and potentially restorative after a day in the office. In practice however this concert from Andrew Litton and the BBC Symphony Orchestra was – thankfully – altogether more bracing, pairing Vaughan Williams at his most combative with vintage Birtwistle.Vaughan Williams’s Fantasia on Greensleeves felt like the sugar to help the musical medicine go down – a pacifying opener to reassure anyone nervous about the half hour of Birtwistle to come. Litton underplayed it exquisitely, coaxing a Read more ...
Matthew Wright
Conductor Marin Alsop was welcomed like Britannia herself at last night’s concert, an astute partnership of John Adams’ vivacious hybridism and Gustav Mahler’s colourful patchwork quilt of a symphony. Alsop won the Prommers’ hearts with her successful navigation through the choppy waters of last year’s Last Night, but the ecstatic ovation greeting the conclusion of this performance was for something quite different: she directed the BBC Symphony Orchestra in lean, energetic and for the most part precise accounts of seemingly very different works, which she juxtaposed intelligently.John Adams Read more ...
edward.seckerson
How much familial dysfunction and lust - whether for sexual gratification or revenge - can one take in a single weekend? Salome and Elektra back-to back may on paper seem like a feast of divine decadence but no sooner had one become accustomed to the sickly sweet air of the former when the putrefaction of the latter (I always think that Strauss’ orchestra is in the final stages of decay with Elektra) filled one’s nostrils - and ears. Then there was the little matter of inevitable comparisons, of Salome - with Stemme, Runnicles and his fabulous Deutsche Oper Berlin Orchestra - being one of the Read more ...
edward.seckerson
The Russians were coming - and the prospect of Tchaikovsky’s 1812 Overture, even without the added attraction of hearing it in Igor Buketoff’s questionable choral arrangement where the Tsarist hymn is taken at its word and does a Boris Godunov on us, had the promenade queue fast stretching towards South Kensington. And if ever music replicated the excited buzz of something in the air Stravinsky’s Scherzo fantastique did, raising the curtain almost imperceptively through the scurrying of muted strings and surprised woodwind punctuations.Here is music that redefines the idea of airborne until, Read more ...
edward.seckerson
All kinds of narratives were at play in this Prom from the BBC Symphony Orchestra and its Principal Conductor Sakari Oramo - and perhaps the truly adventurous programmer might have double-deployed Rory Kinnear, dispassionately chronicling Stravinsky’s Oedipus rex, and taken us beyond the Overture and into the melodramas of Beethoven’s Incidental Music to Egmont. Mind you, that overture will more than suffice as a self-contained drama when it is as boldly drawn as it was here with a daring expansiveness in the lowering F minor Introduction and equally impulsive and defiant allegro with John Read more ...
Bernard Hughes
The first half of last night’s Prom was supposed to be linked by the theme of the First World War, but Anthony Marwood’s illness meant that Sally Beamish’s Violin Concerto, based on All Quiet on the Western Front, had to be replaced at late notice by her accordion concerto The Singing. And what a felicitous change it was; James Crabb stepped in to give a glowing performance of a fascinating and subtle work which, for me, is a better piece than the intense and difficult Violin Concerto.After the interval came music perceptibly foreshadowing the horrors of the Second World War. Walton’s First Read more ...
Matthew Wright
The Forties and Fifties, seen through the eyes of Shostakovich and the Pet Shop Boys, were the historical centre of gravity for last night’s courageously broad Proms programme. Bartók’s Violin Concerto No. 2, a gently serialist folk exploration from 1937-8, introduced the era, with the Soviet composer’s 10th Symphony and the Pet Shop Boys’ retro biography of Alan Turing (**) offering markedly contrasting interpretations through their depictions of Stalin and the Enigma-decoding, convicted homosexual mathematician.Tavener’s Gnosis, opening Prom 7 (****), was the exception. Through a setting of Read more ...
David Nice
“And suddenly there came from heaven a sound as of the rushing of a mighty wind, and it filled all the house where they were sitting.” To fill the Albert Hall – where a sizeable number of participants are standing, of course, in the best place – as handsomely as this, and as clearly, takes some work. Sir Andrew Davis and the BBC Symphony Orchestra know how to manipulate the space to best effect, and Elgar’s oratorios, of which The Kingdom is the third and last, are among the few works which mostly benefit from the warm halo it places around the sound.I only wish this one had been The Kingdom’ Read more ...
graham.rickson
Khachaturian: Violin Concerto, Shostakovich: String Quartets 7 and 8 James Ehnes (violin), Melbourne Symphony Orchestra/Mark Wigglesworth, Ehnes Quartet (Onyx)Moving from Khachaturian's breezy circus music to two of Shostakovich's darker quartets is quite a journey; you're best programming a generous pause halfway through this CD. The Khachaturian, composed for David Oistrakh in 1940, is a blast, its raucous optimism totally out of step with its time. James Ehnes's total lack of inhibition is just what the work deserves, and this full-blooded performance is glorious. Ehnes can change Read more ...
Mark Valencia
It’s safe to assume that mischievous Monsieur Poulenc would have been delighted by the juxtaposition of his joyous slice of Surrealism with Fauré’s serene masterpiece the Requiem. What his elder compatriot might have had to say is harder to imagine. Since Les Mamelles de Tirésias was conceived for the opera house and the Requiem for a place of worship they don’t even belong in the same building – and neither of them by rights in a concert hall – so to call them an odd match would be an understatement. The only obvious link between them is thematic rather than musical: the former Read more ...