Sunday, April 26, 2015
Proms Proms Proms
This year's Last Night of the Proms promises to go out on a somewhat surreal note as Danielle de Niese and Jonas Kaufmann lead us all in a SingalongaSoundofMusic. Yes, we get to sing together with Danni and Jonas. And we are instructed to do this wherever we are, whether in the hall or in Birmingham or in the bath.
Moreover, at the press launch t'other day it was confirmed that it is Jonas who gets to sing Rule Britannia and it's all gone wonderfully quiet about him being, like, German. Good to see that he's the World's Greatest Tenor first and only. I hope that this is an indication from the Proms of support for the view that opera is international, music is international, people are international, the Last Night Hall is always full of flags of many, many hues, and fantasy nationalism in the end shall have no dominion.
The programme is up and running now and you can browse it all here. They're having a focus on the piano, big choral works and a heap of Nielsen and Sibelius for the anniversaries, and quite a lot of Mozart. There are 13 BBC commissions among more than 30 new music premieres of one sort or another; Marin Alsop is back to conduct the Last Night; and that evening has another soloist besides the singers, and it is Benjamin Grosvenor, who will play the Shostakovich Second Piano Concerto.
One has a slight sensation that everyone is treading water. The Proms as yet have no permanent new director to replace Roger Wright, who is a very, very hard act to follow. Alan Davey has barely got his feet under the desk as controller of Radio 3, Edward Blakeman is doing his best as the 2015 Proms director under difficult circumstances, the entire BBC has become more than a tad risk-averse of late and meanwhile we're awaiting a new government, to say nothing of the likely effects of the licence fee decision, whatever it may be, which is due next year.
So if there's a certain retrenchment into things like Belshazzar's Feast (opening night), The Dream of Gerontius (with Rattle conducting the Vienna Philharmonic, yes, that's Vienna) and yummy Mozart and Beethoven piano concertos, one can't be wholly surprised. As for the complete Prokofiev piano concertos, with the LSO conducted by Gergiev and starring Daniil Trifonov, his teacher Sergei Babayan and the pianist Alexei Volodin, I for one don't particularly want to hear the five Prokofiev concertos on the same night. It's a circus trick and it's music of which a little goes a long way.
Meanwhile, out there it's Groundhog Day as the one pop-focused event grabs all the headlines. This time the presence of an Ibiza club night is giving people high blood pressure and inducing the opinion that the end of the world is upon us. By this time next year, nobody will remember that. Because last year it was the Pet Shop Boys, and it seems nobody remembers that now. Aren't we used to this yet?
I'm more concerned that there are not very many women conductors other than Marin. There are eight female composers among the premieres. You might consider this a relatively good representation. Then again, you might not.
My top Proms? Sir András Schiff playing the Bach Goldberg Variations late at night; John Eliot Gardiner conducting Monteverdi's L'Orfeo; Yuja Wang playing Bartok's Piano Concerto No.2; Nicky Benedetti playing the Korngold Violin Concerto (only I'm away then); Bryn Terfel in Grange Park Opera's Fiddler on the Roof; and a lunchtime Prom in which pianist Christian Blackshaw will perform the Mozart Quintet for piano and wind instruments with a fine ensemble of colleagues. And probably that Last Night...
Note: I've written another, rather stringsy piece on the programme over at Amati. Thing is, it's not a very stringsy season.
[UPDATE: Earlier I said there isn't a free Prom this time. A kind reader points out that in fact there is, so I've corrected the post. It's Carmina Burana. I think I must have blanked that out. It's my least favourite music ever.]