Prom 57: World Orchestra For Peace/Gergiev <br></br> Prom 58: BBC PO/Noseda, 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.Kuchl was in the concert master's chair to voice the exotic fables of Sheherazade in a beautiful rendition of Rimsky-Korsakov's suite. Valery Gergiev essentially turned on the ignition and let this superior motor roll. At times it broke the speed limit but mostly it cruised, wind soloists spinning out the improvisatory arabes-ques as if they were rivals for the Sultana's favours.
The corporate élan was no less impressive. Rossini's William Tell overture threw up the requisite rosin dust in the gallop; Debussy's l'Après-midi d'un faune was cool and limpid, the Montreal Symphony's principal flautist Timothy Hutchins grazing languorously; and the brass choir were Wagner's Meistersingers. And I never thought I'd hear an orchestra of this calibre play Eric Coates's endearingly cheesy "Knightsbridge March" with such conviction. World peace suddenly seemed possible.
Gianandrea Noseda's performance of Verdi's Requiem was inspiring, with an imperative sense of direction and phrasing. There were few of the indulgences that often pass for drama: rubato was minimal, portamento sparing among the soloists. All were Italian, and showed effortless blending. Soprano and mezzo, Barbara Frittoli and Daniela Barcellona, worked seamlessly in tandem; Giuseppe Filianoti, the tenor, seemed tight, though there was freshness in his words; and the excellent bass Ferruccio Furlanetto introduced a real whiff of the theatre. Full-blooded, incisive work by the BBC Symphony Chorus, City of Birmingham Symphony Chorus and BBC Philharmonic left little to be desired.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments