My final listening instalment has got me closer to the experience I recall of the Proms from my ‘olden days’. A mixture of live, audio catch-up and TV broadcast has, in the final week, finally made good on the season. Dunedin Consort first. Full disclosure: school pal was on stage playing so my usual objectivity…
An evening of two halves. One better than the other.
The crazy perfection of Dieter Ammann’s piano concerto, Sheku’s much-heralded performance of Elgar’s Cello Concerto, and what happened when I bumped into a Proms commentator
Some sloppy moments in the first movement of the Beethoven; warm colours and seductive shapes in the second; spirit in the third; slightly underpowered in the fourth. First and second violins don’t work well – cues lack clarity. Firsts particularly undisciplined in places. Clara Schumann Piano Concerto. Not quite sure whether this was worthy of…
It’s a toss up between finding the ideal spot in the Royal Albert Hall or holding your nose and listening to the live broadcast. After my first visit to the Royal Albert Hall, I think its probably the latter.
Please give the listening audience the chance to reflect on what they’ve just heard and what it means to them, instead of resorting to hype, sycophancy, or post-performance reviews
A rich score, strong vocal lines and scintillating conversation at Glyndebourne at a performance of Barbe and Doucet’s production of Mozart’s Magic Flute
A review of the week. Not everyone’s week, obviously. But mine, listening to the Proms live and on catch-up
TV presenters, the need for awkwardness in art music and the power of reportage
Tuesday’s performance by the Bavarian Radio Symphony Orchestra highlights a newly adopted habit: a new way of listening.