Photo credit: Mark Allan

(3 / 5)


I’m still reeling after the Londin Sympony Orchestra and Simon Rattle doing Messiaen’s Turangalîla-Symphonie a few weeks back. As Rattle begins to leave the maestro role with them, it looked like The Proms might just be his last potential concert with them.

This is the first time the full work of Das Paradies und die Peri has been done at The Proms. Schumann’s not quite opera, not quite oratorio proved highly popular in its day, with tours around Europe and even going to New York. Based on Thomas Moore’s Lalla Rookh, the Peri in question is semi immortal creature who strives to make it to heaven. Through three redemptive tries, a drop off blood, a sigh and a tear all fail her, expect the final attempt. Journey to India, Egypt and then Syria, this strange piece has surprisingly fallen off since the 20th century, its success something of the past.

This is an era of rampant orientalisation, Moore’s story a popular read at the time, mirroring Scheredzade in the story telling arch and locations. Its pacing is slow in all fairness, though the music is fairly touching, little is done to make the exotic stand out in the music, Schumann’s early German sound is rich and at times compelling. Each part is one of the Peri’s attempts to try and get into heaven for an three act structure. There appears an almost unifying scope where characters from both Islam and Christendom are referenced, as we venture through supernatural forces and the geography of the Orient. 

Photo credit: Mark Allan

There is decent music from Schumann here, though certainly, not his best. You get a flavour for his style, though nothing really stands out, the arias and chorus moments swells and sway throughout. Rattle loves this piece and you really feel this as his choice to make happen. His mastery over everyone on stage was noteworthy, his grey, curly mop proudly on display tonight. Lucy Crowe as the Peri offered stunning vocals for this strange role. The Angel was an equally strident Magdalena Kožená, the Narrator from Andrew Staples framed this odd story together, his tenor very firm and a lovely addition to the cast. In supporting roles, Jeanine De Bique, Floria Boesch and Linard Vrielink offered compelling and soaring vocals, their characters the defining aspect if the Peri goes to heaven or not.

LSO and its Chorus delivered well in what I imagine is a work they rarly take on. It proves how German music would progress, even if Peri is something we see much less of now. It’s a good piece, I just don’t think it needs constant revival.

The BBC Proms are available to listen live on BBC 3 and after on BBC Sounds

Photo credit: Sisi Burn

(4 / 5)

There is much to be said about returning to how music used to be played. What is its purpose today? Should we look back at all? Will it keep getting audiences? In comes Les Siècles, best remembered for their Lully some ten years ago, now boasting a 20th birthday this year. The serious but playful maestro François-Xavier Roth keeps everyone in check, his little turn to acknowledge rampant coughers during a movement breaks was funny. He usually exudes confidence and gives lots to the players as well.

The genius of György Ligeti is front and centre for his centenary celebrations. The Proms have already honoured his usage in 2001: A Space Odyssey in concert, now parodied in this years billion dollar busting Barbie from Greta Gerwig. There could not be a better time to hear this most eccentric and outrageous of composers.

In its first ever Proms outing, his Concert Românesc from 1951, is a pristine find. Taking over from Bartók, this is the next level from Transylvania folk findings and new inventions along the way. It’s quite vanilla for most part in the first three movements, things seem to plod along nicely with flavourful songs and an all round infectous charm. Though the final movement, the peasants fiddle melody turns on its head as unusual tuning techniques have been applied here. The spooky last movement would have upset Soviet sensibilities and apparently had it banned for its rockstar quality. It still saw performances anyway, proving the pieces popularity.

Decades later, Ligeti wrote one of the more strange violin concertos imaginable. Isabelle Faust as our soloist really got into what feels like a highly difficult work. Broad new ways of playing meets overtones, ocarinas and swanee whistles in the woodwind and hushed cadenzas propel the Violin Concerto into a surreal realm of possibilities. Faust fiddles with a piercing, passionate flair, just trying to tackle this piece should be commended. The percussion was also note worthy with vibraphones, glockenspiel and little cymbals, some of the work being inspired by music from Papua New Guinea. Multiple listens would envelop the questions you find yourself asking. An encore of Kurtag’s Doloroso from Signs, games and messages was so painfully quiet, you could hardly take it in.

Photo credit: Sisi Burn

Now, we come to it. Sound levels. In keeping with said tradition of faithful music making, here is where the concert fell on its face. By using a forte piano for Mozart’s Piano Concerto No. 23, it was simply to quiet for his monumental hall. Fine playing from Alexander Melnikov, who seemed to relish this odd return to form. Yet it was as if his refined playing was not there at all, the crumbly, slight sound of the fortepiano giving him very little to work with. A man in front of me cricked his neck and cupped his ear to try and hear better (we were in the side stalls, not that far away). I’ve always seen the instrument as the stepping stone between the harpsichord and the piano we know today, it’s easy to see why it fell on the way side. The lack of dampener is also disheartening and just might be the major problem point. That aside, it was pleasant enough (its touching and has room to breath) and the orchestra revelled in this Mozart which proves to be popular at the Proms.

Luckily, the final piece, Mozart’s Jupiter Symphony (No. 41 in C major) kept tuning and instruments of its day and still worked! I kept finding lovely moments in this famous piece, all the players shone throughout, defining how the symphony was changing and evoling in his day. I could feel the energy, the green and floral nature of it a real testament to Mozart’s genius. Motifs grow and rouse towards the gripping finale. This is how it’s done. Popping a bell jar on the past, without setbacks. No encore, though I think this audience was quite happy.

Listen to all Proms concerts on BBC Sounds

(4 / 5)

After the recent Mahler from the BBC Symphony, a late night Prom would be on offer. I’ve been a bit of a groupie (respectfully), seeing these wonderful musicians in Cardiff, Bristol and London, this time getting got a second Prom. Amazing how laid back it was between both concerts.

Neon by Hannah Peel started off with music inspired by the dying art of the light feature. How lovely it was, taking minimalist touches and ethereal tape work to create a swell concert opener. SERENITY 2.0 by Ben Nobuto might have been the highlight of the night, a queasy mix of Messiaen, John Cage aside guided meditations and a broad audio refrence pallet. Talk before confirmed it might be the most complex piece they have done and you can really feel it. The momentum rarly wained and it had that “Gen Z energy” spoken off prior to playing. The quartet had rampant moments, the percussion with went off in the best way and the tape worked was head spinning in many respects. Top stuff.

Oliver Leith looked to the past with his A different ‘Fantasie from Suite No. 4 in G minor’, feeling mostly timeless though had contemporary inflections. It was of worth, though hearing how hushed the huge hall became for David Lang’s Glory from his Mystery Sonata No. 7 made an unforgettable sound. Quite simple in form, it held up as rather touching, Rakhi Singh needs to do little to show her talents, the solo violin never sounded sweeter and more warm. Grand stuff.

Straight into Steve Reich’s Double Sextet, here with a recording of themselves to mirror the duo aspect. Have grew tired of Reich a few years back, but it’s hard not to be lost in the energy and joy found here. The stamina is commendable , their musicality unbounded. I wished I could have stayed for applause, though my tube was calling for home.

(3 / 5)

Back for the Proms and it looks like a fascinating year. There’s been some fine music making on the telly, radio and in person for people to choose. Finally making it back, I ventured to a firm favourite of mine.

Mahler’s Third Symphony is a chunky wombat of a piece, feature length at 95 minutes and requires quite a large orchestra. For me it’s one of his best out of his cannon. Whilst the BBC Symphony here, I felt the pathos, though it lacked some Germanic rawness to it. Conductor Sakari Oramo shooed away invisible flies, other times waded in the senseless of the music. He often franticly looked about the orchestra, yet he still managed to make the piece feel longer still. Mezzo Jenny Carlstedt has a fleeting solo, fraught with typical angst, oily and just right. She stayed on stage after her moment, openly weeping for the applause. The ladies of the BBC Symphony Chorus and Trinity Boys Choir had fine harmonies, both equally on point for the particular fibre added into the symphony around an hour in.

Many moments to savour, the sweet pathos of the offstage bugelhorn, the touching trombone solo, the bells and doubled timpani sets. The universe never leaves Mahler’s music and here it is most evident. The strident leaps, the painful doldrums and agonising irony all feature. The use of popular music of his day and Alpine folk songs also stand out. You have to take the good with the bad when it comes to Mahler. It’s usually very rewarding. Maybe I was too tired to really drink in this heady brew after a day of travelling.

Though, I still feel it needs more of a kick to it, gusto even. Oramo maintains the texture through a decent pace. The final movement which js one of the finest things Mahler created, was good but just not incredible. The solemn strings, the trumpets reaching that high notes, the soaring medley line and more. The grandiose end sees the two timpani players effectively play out as the other percussionists get a well earned rest. The universe is a true, beautiful thing in that moment and we need to cherish that.