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SEEN
AND HEARD BBC PROMENADE CONCERT REVIEW
Prom 76, The Last
Night of the Proms 2008:
Bryn Terfel
(bass-baritone), Hélène Grimaud (piano), various artists, BBC
Singers, BBC Symphony Chorus, BBC Symphony Orchestra; Sir Roger
Norrington (conductor). Royal Albert Hall, London 13.9.2008 (JPr)
Walking
up to the Royal Albert Hall I mused that there are certain things in
life that you should experience only once; eating
oysters, going hot air ballooning, watching
women’s beach volleyball at London’s Olympics, going
to Paris etc.... and for me,
being at the Last Night of the Proms. It had been
a long time since I had even seen one on the TV as I used to
get fed up with the flag-waving, bobbing up and down and apparent
rowdiness of the Prommers. I used to scream at the TV screen,
'Why don’t they give them seats to sit on?'
Christopher Cook’s programme note mentioned how the late John
Drummond once blasted the ‘antics’ as follows: ‘There’s a man who
comes every year with an inflatable parrot on a string. He comes up
and says, “I’ve got my parrot.” And I think, ‘Yea, of course you’ve
got your bloody parrot.” And all through the thing he’s bobbing up
and down with his bloody parrot … Me, me, me me, me! That’s what
it’s all about.’
Now, either I have become a more
joyful person (unlikely) or ‘The Last Night’ is not what it
once was but I quite enjoyed the evening.
‘In Person’ the Prommers were their normal restrained selves with
only the odd silly squeaky balloon at times holding up the music
and of course we all stood up and most of
us joined in with Rule Britannia/Land
of Hope and Glory and Jerusalem right
through to Auld Lang Syne at the end of the evening.
Not even any of this seemed as patriotic
or jingoistic as it has felt to me in the
past – Britain’s proud past is unfortunately not reflected in its
current present – and it was our tradition
that made us join in. Yes, flags, poppers,
funny hats and costumes, balloons and beach balls were present but
the Prommers were saying to the world “this
is the way it’s done every year and we’re having a jolly good time
celebrating at least one truly British
tradition”.
Having said that, the Last Night is now
nothing more than another ‘choreographed’ BBC programme put
on for the worldwide TV audience and future DVD release. For the
second half – which gets the bigger
TV audience and is broadcast on BBC 1 –
streamers are carefully arranged around the conductor’s podium rail
(plus the obligatory ‘L plate’ for a first
timer, after 40 years at the Proms, like Sir Roger Norrington)
as well as streamers throughout the orchestra. There is
nothing spontaneous here; it is simply the
dressing of a ‘set’ and the audience become
merely ‘extras’ who pay for the privilege of being there.
Of course, I do not intend to put the music or the performance under
my usual microscope because it transcends criticism for what is
often described as a ‘party with music’.
The programme notes promised ‘something old, something new,
something borrowed and something blue’ from the music
and this was sometimes rather
tenuously applied to the music being
performed. Apparently Beethoven’s overture The Creature of
Prometheus was a new idea when first performed in 1821
and old because the finale contains a ‘popular dance form’.
‘Borrowed’ was the ‘programming practice with popular operatic arias
sung by an international star’. The ‘blue’ was apparently was the
original lyrics to Denza’s ‘Funiculi, funiculà’ about a young woman
invited to take the train to the top of a volcano! No doubt to save
the audience’s blushes it was performed in Rimsky-Korsakov’s
orchestral arrangement.
The ring-master for the proceedings was Bryn Terfel on his return to
‘The Last Night’ for snippets of Wagner, Puccini and Verdi, Vaughan
Williams’ Silent Noon,
Chris Hazell’s Folk-Song Medley arrangement of The Turtle Dove
(England), Loch Lomond (Scotland), Cariad cyntaf
(Wales) and Molly Malone (Ireland) and Rule Britannia.
The
cynical corner of my mind was wondering whether the BBC should be
helping him promote his new release ‘Songs from the British Isles’
so overtly, since even the small Union
Jack flags distributed in the auditorium had the CD advertised on
the back.
There is a rumour going about that
Bryn Terfel is aiming to ‘wind down’ his
career as he approaches his mid-forties. When exactly he
‘cranked it up’ is a mystery to me,
though. When Bryn auditioned for me in the late 1980’s he was
22 years-old and even then was destined to become
the voice the opera world was looking for
as a cross between Tito Gobbi, Geraint Evans, Hermann Prey and Hans
Hotter. It is currently being reported
that he does not expect to go back to
Chicago or Salzburg again, yet he has it
in him to be this century’s finest Scarpia, Falstaff, Dutchman,
Wotan or Sachs, to mention
only a few present or future roles. These are roles to be
repeated more than one or twice for a singer’s interpretation to
gain legendary status. That he is a humble happy family man and is
content to stay at home is understandable and probably praiseworthy,
yet his children will grow up, and he may yet
come to regret later in life the ‘what ifs?’ of his career.
I had wondered why Beethoven’s anodyne Fantasia in C minor
for pianist (Hélène
Grimaud),
chorus and orchestra came between the Tosca Te Deum and
Falstaff’s Act I ‘Eh! paggio! … L’onore! Ladri!’
but discovered that it was simply
to give Terfel time to
don Falstaff’s fat suit, bald pate and whiskers. As he waddled his
way down the stairs and across the platform,
he completely stole the show and it was now his evening
right through to the end of
Rule Britannia.
I was swept along too. Bryn Terfel remains overwhelming in stage
presence and magnificent in voice. Wolfram’s salute to the evening
star (Tannhäuser) was smoothly sung, if a little bland, but
he gave Scarpia the requisite snarling anger and menacing lust and
his Falstaff was an outstanding comedic and vocal vignette. Later,
he returned in a suit made out of the Welsh flag for a
rollicking Rule Britannia, yet for me his finest moments were
when he reduced the Royal Albert Hall to an intimate recital venue
for Vaughan Williams’s Silent Noon (given elegant
accompaniment by Hélène Grimaud at the piano) and seemed to be
singing individually to each of us in the audience.
Also ‘new’ for ‘The Last Night’ was a BBC
Commission/world première from Anna Meredith called froms
(apparently ‘from the Proms’) a short five-minute interactive work
involving musicians from ‘Proms in the Parks’ events in Cardiff,
Ulster and Hyde Park. Sir Roger Norrington conducted this
via a satellite video link to and from the
various venues. Regrettably, some
unintentional (I presume)
uncoordinated chaos ensued but it was all over fairly
quickly and forgotten just as soon.
For me, Sir Roger Norrington was the
revelation of the whole evening. He has always appeared to me the
dourest of conductors, yet I warmed to him on the recently televised
Maestro programme and during this concert. I am always
pleased with people able to laugh at themselves such as when before
the
traditional encore of Land of Hope and Glory he asked us, the
audience: ‘Can you sing with a bit more vibrato, please?’ Of course
Sir Roger’s performance practice of the great composers eschews
vibrato
and he conducted the varied
programme indefatigably, spiritedly and with a good humour, the
prerequisites of a successful conductor of this very special event.
This ‘joie de vivre’ was also evident in the wonderful support he
got from the BBC Symphony Orchestra, BBC Symphony Chorus and BBC
Singers.
To conclude the 2008 BBC Proms season, it
is good to dwell on the words Sir Roger Norrington used when asked
to say what classical music is all about. He spoke most movingly
when he said: ‘Music brings us joy and love. Music deepens feelings.
Music feeds our hearts and minds. Music brings us healing. Music can
be so profound. Music can be fun. Music
can quicken all our lives. Music makes us one.’
The applause went on and on at the end of this strangely compelling
evening but Sir Roger indicated that it was late and time for his
sleep; the parrot on a string – yes it, or a younger relative, was
there – bobbed up and down in
agreement!
Jim Pritchard
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