Do we know how lucky we are to have the Proms? This year it opens on 15 July for nearly two months of world-class concerts in the Royal Albert Hall and beyond, with standing places costing a pittance and blanket broadcasting — everything on the radio, plus considerable chunks on TV and the Internet — so the music can reach everyone, everywhere. A new managerial team is in place this year: David Pickard has become director of the Proms, having previously run Glyndebourne, and Alan Davey, controller of BBC Radio 3, is there to look over his shoulder.
Where are those furious traditionalists declaring the end of the world imminent thanks to the occasional inclusion of alternative genres? Not that this is your average car park.
Its adoption for a performance of music by Steve Reich is a feather in its cap, but also quite a badge of cool for the big-brand BBC Proms. It is one of four alternative venues in which the Proms are holding extra-mural concerts for the first time. Apart from that, risks are few and far between. The sums may add up, but do the palates match?
Not only young listeners but also older ones often hanker for more understanding of how music is put together; it is good to see this being catered for. And alternative music? But I rather hope feather-ruffling comes back into vogue soon. Already have an account? Log in here.
Daniel Barenboim and his West–Eastern Divan Orchestra
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BBC Proms 2016 programme revealed
Roger Wright stepped down as Radio 3 controller and director of the Proms at the beginning of the season, and with no carefully choreographed succession in place, his permanent replacement, David Pickardwho was previously general director at Glyndebourne, only took up his post last autumn.
During the month interregnum, the role was taken by Radio 3 editor Edward Blakeman, with the result that the recently announced season is effectively the combined work of three planners.
Given the long timeframe over which the diaries of international soloists and orchestras have to be organised and composers need to write works that are commissioned, it means that any new slant that Pickard might want to put on what remains the biggest and most wide-ranging of British music events will only begin to emerge next year at the earliest. The only major innovation is that the Saturday afternoon concerts, which up to now have been given in Cadogan Hall, are dispersed to a range of venues across London.
Late night memorial tributes to David Bowie 29 July and Pierre Boulez 2 September are presumably tweaks to the season that have been added by Pickard, but otherwise there are no real surprises. There may be no visits from North American orchestras this year, but the roster of visiting bands is still a very impressive one. There are also back-to-back appearances by the Berlin Staatskapelle 5 and 6 September and Dresden Staatskapelle 7 and 8 Septemberconducted by Daniel Barenboim and Christian Thielemann respectively, both piquantly bringing Bruckner symphonies; Barenboim, typically, prefaces his with Mozart piano concertos, in which he is the soloist too.
New music in the season continues to be disappointing, especially in the main evening orchestral programmes. There are three pieces from composers who have been music critics at one time or another and survived: Anthony Payne 26 JulyMalcolm Hayes 11 August and Bayan Northcott 31 August. But though there are some interesting UK premieres too, especially from Reinbert de Leeuw 4 AugustIris ter Schiphorst 6 Augustand Julian Anderson 3 Septemberthere is an absence of big, ambitious new orchestral works, which the BBC has the resources to put on better than anyone else in the UK, and in the Proms, the perfect platform on which to do it.
Facebook Twitter Pinterest. Topics Proms Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All. Threads collapsed expanded unthreaded. Loading comments… Trouble loading? Most popular.BBC Proms is about as exciting as my sock drawer. The new head David Pickard claims only half the stalest socks are his — the rest inherited. The festival enjoys an incredibly privileged position. Free from commercial pressures, free from government interference, an entire TV and radio network at its propagandistic disposal, the two-month summer blowout is a mighty musical monopoly.
It can do what it wants with pretty much whomever it wants. Last year it dedicated a night to Eric Whitacre, the Noel Edmonds of contemporary music, and hosted an Ibiza prom 20 years after everyone stopped caring about Ibiza. We allow the Proms this freedom so that, alongside its more obvious duties, it can act as an incubator for innovation.
An educator. Sure, musical greatness sometimes means musical obviousness. Similarly the performers and orchestras we get to hear are not necessarily the only ones we should hear. Are we happy to subsidise a festival whose purpose is now simply to repeat, in terrible acoustics, what happened a few months earlier down the road? Is that what the Proms has become? A catch-up service? The Proms was once a place for adventurers. In the s half the BBC Symphony Orchestra took up residency in a railway-repair shed, the Roundhouse, and bashed out the very latest bit of invigorating modernism by Cage, Stockhausen, Boulez and Messiaen.
Today the new commissions show the modern music establishment at its worst: advancing friends, privileging cliques, championing safeness. Festival directors will inevitably be partial. To hunt around. To be bold.
BBC Proms 2016: Strictly, Bowie and music in a car park
The top team, however, seems to care little about any of this. You will, however, find them cosying up to music publishers. That someone got paid for it is outrageous. Pickard has come from Glyndebourne, a brilliant but small operation catering to a narrow audience. Text settings.Check out the movies and shows we're excited about this month, including " Star Trek: Discovery " and After We Collided.
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Proms 2016 Prom 14
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Edit BBC Proms —. Themselves 2 episodes, Roderick Williams Self - Presenter 2 episodes, Laura Mvula Self 2 episodes, Clemency Burton-Hill Self - Presenter 2 episodes, Michelle Ackerley Themselves 1 episode, The John Wilson Orchestra Themselves 1 episode, Quincy Jones Self 1 episode, London Symphony Orchestra Themselves 1 episode, Orchestra of the Age of Enlightenment Themselves 1 episode, Stargaze Themselves 1 episode, Michelle Williams Self - Host 1 episode, Millie Ashton Themselves 1 episode, Stephen J.
Self - Leader 1 episode, London Adventist Chorale Themselves 1 episode, Kati Debretzeni Self - Leader 1 episode, Leah Gooding Self - Presenter 1 episode, Lesley Hatfield Self - Leader 1 episode, Carmine Lauri Self - Leader 1 episode, Metropole Orkest Themselves 1 episode, John Mills Self - Leader 1 episode, Lorenz Nasturica-Herschowici Self - Leader 1 episode, Laura Samuel Self - Leader 1 episode, Matthew Truscott Self - Leader 1 episode, Marc Almond Themselves 1 episode, Choir of Kings College Cambridge Themselves 1 episode, Monteverdi Choir Themselves 1 episode, City of Birmingham Youth Chorus Themselves 1 episode, Thomas Dausgaard Self - Conductor 1 episode, Arlia de Ruiter Self - Leader 1 episode, Dion Dublin Self - Presenter 1 episode, Valery GergievFor me, the best concert was the one given by Martha Argerich and Daniel Barenboim, friends since childhood and two of the greatest musicians of our age.
Pekka Kuusisto playing the Tchaikovsky violin concerto — because the Proms should be about making us listen to well-known repertory in a new way. Steve Reich in the Peckham car park was the Prom I personally enjoyed most. It was a very nice moment when the audience realised what he was doing.
It was perhaps a season of encores — the Argerich-Barenboim pairing in Schubert was also irresistible. I felt I was hearing the pulsating Beethoven 7 with fresh ears. In fact the mood was as intense and exhilarating as any concert all season, the audience a mix of never-miss-a-Prom regulars and curious locals.
Andrew Clements For me, the best concert was the one given by Martha Argerich and Daniel Barenboim, friends since childhood and two of the greatest musicians of our age. Erica Jeal Pekka Kuusisto playing the Tchaikovsky violin concerto — because the Proms should be about making us listen to well-known repertory in a new way.
Facebook Twitter Pinterest. Topics Proms Classical music blogposts. Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All. Threads collapsed expanded unthreaded. Loading comments… Trouble loading? Most popular.Glyndebourne makes its annual visit to the Proms, bringing the ultimate comic opera. The result is an opera full of expectant fun but also oozing grace and beauty.
The Count hopes that Rosina will love him for himself and not for his wealth and status. Rosina, alone, reflects on her love for Lindoro and her plans for outwitting Bartolo in order to marry her young suitor, and warns that she can be formidable when crossed. Basilio advises Bartolo to discredit the Count by spreading slander about him, and Bartolo resolves to marry Rosina immediately.
Figaro, who has overheard them, encourages Rosina to write a letter to Lindoro, which he will deliver. The Count enters in the guise of a drunken soldier, demands lodging, and stealthily passes a note to Rosina. Bartolo claims exemption from quartering soldiers. Figaro appears, reporting that all of the hubbub has drawn a crowd outside the house. Everyone — except Figaro — is flabbergasted by the events.
When Basilio suddenly appears, Figaro, the Count and Rosina bribe him to feign sickness and go home. While Figaro shaves Bartolo, Rosina and the Count plot their elopement, but Bartolo overhears and chases everyone away. Bartolo instructs Basilio to summon a notary to marry him to Rosina that evening.
Rosina, crestfallen, agrees to marry Bartolo. After Rosina expresses her heartbreak at her apparent betrayal, the Count reveals his true identity. The lovers wax romantic while Figaro presses them to escape. But when the Count, Rosina and Figaro go to climb down the ladder, they find it missing.
Basilio turns up with the notary, and, ceding to bribery and threats, agrees to witness the marriage between the Count and Rosina. The arrival of Bartolo forces a confrontation and then a resolution.BBC iPlayer BBC Proms 2016 David Bowie
Proms Proms Prom Prom Rossini — The Barber of Seville. Jul '16 BBC Radio 3. Listen on Radio 3.
Performers Christophoros Stamboglis Don Basilio. Don Basilio. Danielle de Niese Rosina. Alessandro Corbelli Dr Bartolo. Dr Bartolo. Taylor Stayton Count Almaviva.
Count Almaviva. Janis Kelly Berta.