London Proms - 2011

1. 24
ARTS&ENTERTAINMENT T U E S D A Y, O C T O B E R 4 , 2 0 1 1 T H E J E R U S A L E M P O S T
CONCERT REVIEW: THE LONDON PROMS
COMIC RELIEF: ‘To me, there is nothing like
• By IRVINGit... nothing quite like (Irving spitz) comic who
SPITZ a stand-up a piece entitled the Fantastic Appearances of
is there because he really wants to be there.
a Theme of Hector Berlioz by the relatively
And that’s what I am about. It’s really all I
unknown German composer, Walter
P
rom is an abbreviation for prome- (John Gress/Reuters)
do,’ says Seinfeld.
nade. During this annual festival, Braunfels. His music was popular in Ger-
900 Prommers stand in the central many and even internationally in the 1920
arena of the vast Royal Albert Hall, with a and early 1930’s. This late romantic work
further 500 in the gallery. The rest of the highlighted the proficiency of the brass
audience is accommodated in seats in and woodwind section of this technically
the tiered arches. impressive orchestra.
The current two-month festival com- A performance of Beethoven’s fourth
prised 74 concerts. I heard Sir Colin Davis piano concerto with the French pianist
conducting The London Symphony Hélène Grimaud followed. No one could
Orchestra in a glorious performance of argue with Ms Grimaud’s formidable piano
Beethoven’s masterpiece, the Missa Solem- technique as shown by her exemplary ren-
nis with the London Philharmonic Choir dering of the first movement cadenza. She
and the London Symphony Chorus. From hear him above the orchestra. has a wonderful, light touch and her fortis-
a seated position, the octogenarian Colin Perhaps the most poignant moment of simo passages were also outstanding.
Davis was in absolute control. He conduct- the performance was the violin obbligato The concert concluded with
ed the work at a slow, measured pace and played by orchestra leader Gordan Tchaikovsky’s fifth symphony. There was
despite his minimum of gestures, the Nikolitch accompanying the soloists in some beautiful playing, notably the
orchestra responded to his every motion. the Benedictus. The huge choral forces mournful clarinets at the beginning of the
Without question, the most successful added much drama to this overwhelming first movement and the horn in the sec-
of the vocal soloists was Sarah Connolly and inspiring performance. Catherine ond. However there was too much accen-
(mezzo-soprano). Her contributions to Edward’s playing of the Albert Hall organ tuation of the brass and I missed the grand
the Sanctus and Agnes Dei were particu- was noteworthy. romantic sweep and emotional intensity
larly noteworthy. Helena Juntunen The other concert featured the Pittsburgh associated with this work. The performance
(soprano) and Matthew Rose (bass) were Symphony Orchestra under its Austrian was somewhat uninspiring and one could
both effective although the former was conductor Manfred Honeck. Although not not escape the conclusion that Honeck was
too dramatic and the latter took some a member of the so called “Big Five,” their most interested in showing off the prowess
time to settle in. Paul Groves is a light playing was very proficient. As a short cur- of the strings, brass and woodwinds and
lyrical tenor and it was often difficult to tain-raiser, they played three extracts from percussion of this fine ensemble.