Royal Albert Hall
igor.toronyilalic
It seemed odd on paper. Two Mahler symphonies? In one night? I don't think I'd ever seen that. Last night's Prom showed why not. While Valery Gergiev's second half Mahler Five saw the stage transfigured into a writhing sea of bodies and the air filled with an epic sound, his first half starter, Mahler Four, fell flat on its face. One was a performance; the other was a rehearsal to a performance. It's no wonder really. The World Orchestra for Peace, the king of scratch bands, made up of concert masters and principals from the leading orchestras of the world, last met in September 2009. Read more ...
alexandra.coghlan
In 1860 Wagner sent a full score of his recently published Tristan und Isolde to Berlioz, inscribing it: “To the great and dear composer of Roméo et Juliette, from the grateful composer of Tristan und Isolde.” The bonds between these two works go far beyond emotion, as last night’s inspired piece of programming from Simon Rattle and the Orchestra of the Age of Enlightenment proved. A phalanx of nine double basses watching over the swollen orchestral forces of the OAE set the tone for an evening whose “authenticity” was anything but dusty.Six years after their triumphant Rhinegold, the Read more ...
alexandra.coghlan
The stage of the Royal Albert Hall has a rather unfortunate habit of making orchestras seem incidental. Stretching endlessly across, one of the world’s largest organs by way of backdrop, even the most generous conventional ensembles take on Lilliputian proportions. Youth orchestras, with their Romantic scale and do-or-die attack, often emerge best from this encounter, as the Simón Bolívar and Gustav Mahler ensembles have recently proved. Framed by eight double basses and five horns, the Royal Albert Hall finally starts to make sense as a performance space. In the hands (and lips) of the Read more ...
David Nice
The banquet's laid, the host is absent but the guests can still relish the first-class fare in his memory. Sir Charles Mackerras was perhaps looking down happily in the company of Mozart and Dvořák as another oboist-turned-conductor like himself, Douglas Boyd, put his beloved Scottish Chamber Orchestra players buoyantly through their paces. The special late-night Prom, the second we wish he'd lived long enough to conduct, was one Mackerras had planned so carefully as a serenading double bill especially close to his heart. Our late maestro couldn't have wished for anything more blithe as a Read more ...
igor.toronyilalic
"Stockhausen's festive overture from 1977 opens the programme," declared the Proms website cheerily. Come again? Festive? Stockhausen? From my limited but largely enthusiastic knowledge of the music of Karlheinz Stockhausen - much of which is about as festive as Auschwitz - I assumed that this must either be a big misunderstanding or a lively, perhaps German, joke. It was both. There can have been few composers more ballistically, brilliantly obnoxious than loopy old Karlheinz Stockhausen. Most famously, he declared the attack on the Twin Towers "the greatest work of art Read more ...
alexandra.coghlan
If the bust of Sir Henry Wood that watches over the stage of the Royal Albert Hall had come to life, Commendatore-like, during last night’s concert, I can’t help feel that he would have been smiling. Beethoven nights – once a popular Proms fixture – have lately fallen off the calendar, but alongside various nods to tradition have this year returned. Following Jiří Bělohlávek and Paul Lewis’s recent concerto-fest, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen last night presented a second all-Beethoven programme. Between the heart-racing tempos and exuberant playfulness, any Read more ...
igor.toronyilalic
The Proms listings are full of concerts a bit like the one last night that seem to offer up, on paper, little of real burning interest: no big names, no star foreign orchestras, no intriguing rarities, no new works, nothing beyond one hard-working BBC orchestra and a few staple classics (a Strauss family waltz-medley and some Schumann) that could be rattled off by any professional orchestra blindfold. Be warned: these are the concerts that are most likely to transfigure your evening, stir your soul and leave you reeling.
At least one element of the concert line up was destined to do all Read more ...
igor.toronyilalic
"Well, that's going straight onto my iPod!" declared my friend at the interval. Introduce anyone to Scriabin's lush Piano Concerto in F sharp minor - a real concert rarity - and the response is always the same: love at first sight. The tunes, the tenderness, the surging passion are all there in Rachmaninov-like abundance. And even if these qualities often come at the price of structural elegance, there is no denying the romantic potency of the work. I bet there was a surge of downloading activity last night after Nelson Goerner's classy performance at the Proms.
It all starts introspectively Read more ...
jonathan.wikeley
What a thrilling sound the Royal Liverpool Philharmonic Orchestra can make when it chooses! What a grippingly deep tone, from a lower strings section that sounds like you’ve got the bass on your car stereo turned up daringly high, what clinical precision (in the best sense of the word) in the wind section, what power in the brass. At times you could almost see the surges of energy shooting off into the auditorium. You could certainly hear it.
This was a Romantic behemoth of a concert: dripping with over-the-topness and oozing slush, the sort that is guaranteed to sell out the Albert Read more ...
David Nice
Two birthday parties kept me away from the Albert Hall yesterday (though I'll confess that in the end I treacherously skipped the second and stayed glued to the TV's delayed relay). That, and a slight fear that the concert performance of Wagner's Die Meistersinger von Nürnberg from the BBC Proms couldn't match up to the original Welsh National Opera production of the decade.In fact, from what I saw, it did wonderful things in quite a different way, even if when left to their own devices the singers became a tad more conventional in their very exposed acting-out, for all the eloquent hand Read more ...
David Nice
Numerologists may have been fretting over whether Proms forces could match the apocryphal thousand of the mightiest Eighth Symphony's 1910 world premiere, which Mahler feared would turn into a "catastrophic Barnum and Bailey show". With nothing like 350 in the children's chorus, for a start, not a chance. Anyway, the resplendent sound produced by the choristers who filled the seats either side and in front of the Albert Hall organ, as well as by the players of Jiři Bĕlohlávek's BBC Symphony Orchestra on the platform and up in the gallery, made the question of numbers - circa 600, for the Read more ...
Ismene Brown
Within two bars of the overture starting, the first flashes could be seen. English National Ballet’s arena Swan Lake at the Albert Hall - they make no bones about it now - is intended for people who rarely go to the ballet. Actually it is in many cases for people who have no compunction about talking and taking pictures through the ballet quite routinely.The most eyecatching movement to be seen last night from my stalls seat was the constant toing-and-froing of ushers throughout the performance to reprimand members of the audience for holding up their damn mobiles in video mode, bold as you Read more ...