Two Proms in one evening may seem daunting but makes perfect sense if visiting London and only wishing to stay overnight. This is, of course, even more feasible when each is less than two hours duration.
Under the baton of Ryan Bancroft, the principal conductor of BBC National Orchestra of Wales, and with the massed voices of the BBC National Chorus of Wales and the Crouch End Festival Chorus, Verdi’s Requiem proved as shocking as it is transcendental for a religious work.
The fabulous American soprano Latonia Moore and Scottish mezzo Karen Cargill could have been on the operatic stage with passionate, drama-rich, performances which included at least one “making the sign of the cross” by Moore. If she did not believe every word that she sang she gave a fine impression of doing so. Cargill similarly seemed in rapture both with the intoxicating score she sang but the entire ethereal experience, from the chilling outburst of Dies irae or to the solemnity of the Sanctus. The two women singing together was as exquisite as the glory of the hundreds of choral voices.
South Korean SeokJong Baek and American Soloman Howard, were more restrained, more in the style of a concert, but this did nothing to diminish the elegance of Baek’s clear tenor and resonance of the bass from Howard.
The singing from the mass of choral voices was majestic as was the support they were given from the audience, many of whom it would seem had travelled from Wales. This glorious feast of combined voices was a delight and add those four fine solo performances and a first-class Requiem was assured.
Under the baton of Ryan Bancroft, the principal conductor of BBC National Orchestra of Wales, and with the massed voices of the BBC National Chorus of Wales and the Crouch End Festival Chorus, Verdi’s Requiem proved as shocking as it is transcendental for a religious work. The fabulous soprano Latonia Moore and mezzo Karen Cargill could have been on the operatic stage with passionate, drama-rich, performances which included at least one “making the sign of the cross” by Moore. If she did not believe every word that she sang she gave a fine impression of doing so. Cargill similarly seemed in rapture both with the intoxicating score she sang but the entire ethereal experience, from the chilling outburst of Dies irae or to the solemnity of the Sanctus. The two women singing together was as exquisite as the glory of the hundreds of choral voices. SeokJong Baek and Soloman Howard, were more restrained, more in the style of a concert, but this did nothing to diminish the elegance of Baek’s clear tenor and resonance of the bass from American Howard.
After an hour or so gap, the stage was reset for the late-night Prom from the fashionable young counter tenor Jakub Józef Orliński accompanied by a mesmerising band Il Pomo d’Oro.
Known possibly as much for his liking for break dancing as for his splendid counter tenor abilities, the Polish singer did not disappoint on either level. His body seems as lithe and flexible as his voice, the latter also having sufficient power as well a richness to not only fill the Royal Albert Hall space but to colour every line, display contrast and the occasional flair for playfulness.
He made good use of not only the stage, taking his shoes off for most of the performance, but wandering into parts of the seating in a cleverly choreographed show. This was mainly a non-stop performance of songs, some very well-known such as Ottone from The Coronation of Poppea, to others apparently never heard before at the proms. The costume, largely a suit and cloak, enabled the representation of the forlorn lover, lots of angst and passion, haughtiness plus the comical old woman. In pop concert style, we also had some “jamming” with the musicians in the band which was all lapped up by the enthusiastic audience.
Disappointingly there was not much chat with the audience, and some outbursts of applause before the end happened despite being discouraged as this was dubbed a through-performed 90 minutes, but there was a little pleasantry before two encores.
Images:
BBC/ Chris Christodolou
Personally, I don’t go to the Proms for ‘the chat with the audience’. I prefer a full complement of a performance. It’s all about the music. And there were three encores.