Prom 2: BBC Concert Orchestra/Maida Vale Singers/Mackerras <br></br> Prom 3: Gabrieli Consort & Players/McCreesh, Royal Albert Hall, London
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.So we were denied such weird apparitions. Yet Paul McCreesh's Gabrieli Consort, embarking on the Proms' "fairy tales" theme with a riveting performance of Purcell's "semi-opera" - a series of musical interludes woven round a 1692 staging of Shakespeare's A Midsummer Night's Dream - denied us none of the magic. Here was a feast for the imagination.
"Let them sleep till break of day," sings the chorus closing Act I. Slumber seemed the keynote of this mesmerising performance. What McCreesh set out to capture with his period ensemble was a web of gossamer sound to mirror the fantastic nocturnal goings-on of Shakespeare's play.
Cheered by the joyous bustle of an Act IV prelude, Purcell's text pays homage to the spirit of Masque, amid occasional seedy irruptions: a tormented "scurvy poet" (Jonathan Best); or a scurrilous, romping eclogue (Best and Mark le Brocq) for a shepherd and shepherdess.
The rest, staged with charming restraint by Kate Brown, was utter delight: gorgeous off-stage sopranino recorders for Charles Daniels's "Come all ye songsters"; pindrop pianissimi; muted strings for Night's aria, or the unalloyed beauty of Mhairi Lawson's hilarious winged Cupid aria. Pure enchantment.
HMS Pinafore, with which Sir Charles Mackerras, just announced as first recipient of the Queen's Medal for Music, launched the Proms' "sea" theme, was riproaring and rumbustious. We could scarcely be farther removed from The Fairy Queen's nocturnal underworld.
Before Pinafore we had glorious playing by the BBC Concert Orchestra of the Yeomen of the Guard overture and Mackerras's own G&S-based ballet suite, Pineapple Poll, with brilliant sectional contrasts rounded off by a sizzling finale.
HMS Pinafore is a priceless patchwork. Not so much here for Kit Hesketh-Harvey's racy linking text (with swipes at John Prescott) as for the delicious twaddle of Neal Davies's Captain Corcoran and the mock-pathos of Felicity Palmer's remorseful Buttercup. Top notch.
These Proms can be heard online at www.bbc.co.uk/proms
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments