Hooray for Hollywood: John Wilson does it again..

I’m literally still buzzing... What a night! John Wilson has become one of the BBC Proms’ most popular participants, recreating the magic of music from a bygone age before our ears. I’ve been fortunate enough to attend each of the young conductor’s triumphant turns on the podium at the Albert Hall – beginning with ‘The British Film Music Prom’ in 2007. The ‘Hooray for Hollywood Prom’ was unsurprisingly a sell-out, much like last year’s glorious ‘Rodgers & Hammerstein Prom’ and the one that started the buzz, ‘The MGM Film Musicals Prom’ in 2009...

The conductor/arranger’s hand-picked band – The John Wilson Orchestra - features some of Europe’s top front bench orchestral musicians and together they breathed life into a selection of music that remains truly Golden.
One thing that always strikes me about these shows is the love that so obviously goes into them; John is passionate about this music and in bringing in the talent he does, he makes sure it’s delivered in note perfect form. The only other way to experience this particular music in this way would be to physically go back in time and sit in the Hollywood scoring stages of the 30s, 40s, 50s and 60s.
Quite an era to take in, but one which saw the rise and demise of the golden age of the motion picture musical, from 42nd Street to Hello Dolly. With MGM Musicals previously covered in their own right and the work of Rodgers & Hammerstein duly noted, this Prom allowed a wider reach in terms of the variety of the material and took in music from studios like RKO, Warner Bros., Twentieth Century Fox and of course MGM. The all-encompassing ‘Overture’ took in music from many of the film titles referenced throughout the following programme and it was enough to fill any heart with pure joy as the orchestra bounced their way through the selection, assembled by Wilson. What a fine achievement it was, and that was just the first piece!
Split into a further nine sections, the programme took us through history, beginning in the early glory days of Warner Bros. and the aforementioned 42nd Street, released in 1933 – about the same time as the birth of film music itself – and moving through the thirties song and dance classics of Fred & Ginger and the heady forties, when the movie musical was an escapist shot in the arm and much needed boost during the war years. From there we witnessed ‘Fred’s Swansong’ and ‘Judy’s Comeback’ with the likes of music from Ziegfeld Follies and A Star is Born, before moving into later classics like Gypsy, West Side Story and Guys and Dolls. The final curtain for the genres glittering golden age came in the form of films like Disney’s Mary Poppins, Fox’s Doctor Dolittle and the final bow that was Hello Dolly.
These musical numbers of course needed voice and the John Wilson Orchestra were not left without. The Maida Vale Singers lent fine vocal support, adding some emotional and uplifting weight to the likes of ‘Strike Up The Band’ and the searingly emotive ‘Serenade’ from The Student Prince. The lead vocal came from tenor Charles Castronovo, whose passionate performance was quite literally heart stopping. He was just one of six vocal soloists to join in the fun, and the likes of soprano Sarah Fox, tenor Matthew Ford and Annalene Beechey were in fine voice throughout. It was, however the efforts of Caroline O’Connor and Clare Teal that shone through. O’Connor is perhaps most recognised as Nini Legs in the Air in Baz Luhrmann’s Moulin Rouge! but she is also a much-lauded star of the stage in her native Australia and has performed regularly in London’s West End and on Broadway. Perfectly cast in the Judy Garland role for the set from A Star is Born, O’Connor was simply outstanding – not surprising given she starred as Garland in the world premiere of the hit show End of the Rainbow. She truly is a little firecracker of a performer and her various turns – notably ‘Strike Up The Band’, ‘Gotta Have Me Go With You’ and ‘Triplets’ – were exacted with a confidence, prowess and zeal lacking in some of the others. That latter song, from MGM’s The Band Wagon (1953) saw her joined by Ford and Fox, each of them bedecked in romper suits, hats and clutching teddybears... A comic highlight for sure.
Clare Teal brought with her the delightfully infectious personality and crystal clear jazz vocals that have made her a star. She absolutely nailed the likes of ‘You’ll Never Know’ (from Fox’s Four Jills in a Jeep) and ‘Secret Love’ (from Warner Bros. Calamity Jane). Constantly smiling and quite noticeably just having a wonderful time, Teal’s natural warmth and good humour was a perfect fit for this show.
Rounding off the endlessly entertaining concert was ‘Put On Your Sunday Clothes’ from Fox’s Hello Dolly. With all the vocalists, choir and orchestra united it served to raise not just smiles across the auditorium, but hairs on the back of our necks too. The encore of ‘There’s No Business Like Show Buisness’ saw a final belting turn from O’Connor, who took on the Ethel Merman persona with ease (again a character she has played before, this time on film in De Lovely). Though we stamped our feet and clapped our hands until they were raw, Wilson and Co. were understandably tired and after a third walk to the front of the stage they disappeared from view. Not from our memory though, as this show will live on for a long time; such was the impact and generous spirit of those involved. Congratulations to John Wilson once again for making such magic, and with the colourful, heart-warming rendition of ‘Jolly Holiday’ from Mary Poppins in mind, perhaps next year he might consider taking us back to the Golden Age of Disney? Pretty please?

With thanks to BBC Proms, Rosanna Chianta, John Wilson and The Royal Albert Hall. You can watch The Hooray for Hollywood Prom on BBC 2 at 21:15GMT on Saturday 3 September. Tune in, you won’t regret it... If you can’t wait, then why not LISTEN to the BBC Radio 3 broadcast on BBC iPlayer – click here

A Night at the Movies... At The Proms: The Film Music Prom - Fri 12 Aug 2011

Never presume a concert is going to start at 7.30pm... Lesson learned. I didn’t actually miss any of Friday’s Film Music Prom at the Royal Albert Hall, but I did unwittingly sit in my seat just five minutes before conductor Keith Lockhart struck up the band.

The band in question was of course the always-wonderful and dexterous BBC Concert Orchestra, who launched full pelt into Bernard Herrmann’s ‘Prelude’ from The Man Who Knew Too Much. It was a fine start to an all too brief tribute to the composer, who of course would have been 100 this year, and with the film’s finale location in mind – not to mention Herrmann’s cameo on that very stage – it was all rather delicious. The exuberant ‘Overture’ from Citizen Kane went down well, as it always does, before Lockhart and Co. delivered Herrmann’s engrossing ‘Narrative’ of Psycho. Lovely to have a Herrmann presence at the Proms, however fleeting. The Moby Dick Cantata next year perhaps?

Chloe Hanslip was warmly received for her first half performance of Morricone’s oh-so-captivating theme from Cinema Paradiso. What an achievement that score is... So beautiful; and in the hands of the talented Hanslip it really did soar around that vast space and into our souls.
William Walton’s Henry V is highly revered, and rightly so. The lengthy ‘Suite’ presented at the Prom, rounding off the first half was perhaps a bridge too far for some. While the music rang out, jewel-like, intense and buoyant, it was interspersed with a live recital of parts from Shakespeare’s play by actor Rory Kinnear. This is no slight on Mr Kinnear’s talent, indeed it was a great performance of a selection of speeches; but for the uninitiated and – in my case – the unprepared, it was just a bit long. Minds wandered to the interval drink, the upcoming James Bond suite, or whether the Celeste player would nail the parts in Harry Potter... Still, a noble job and ably done.

Part two saw the ensemble bring out the big guns, opening with a selection of pieces by John Williams. Not a massive surprise for a seasoned film music concertgoer, but wonderful to hear the likes of Star Wars, Harry Potter and the Philosopher’s Stone and Schindler’s List at the Proms. The fanfares of the former rang out and tingled spines, while Potter’s dizzying spectacle, replete with perfect Celeste I might add, was suitably magic. Chloe Hanslip returned to take on Schindler’s List and proved yet again what a talent she is. The piece never fails to haunt and uplift in equal measure.

Jonny Greenwood is a talented chap isn’t he? I was so impressed by his score for There Will Be Blood and I couldn’t wait to hear his ‘Suite’ from Norwegian Woods at the Prom. I wasn’t disappointed. The orchestra was put through its paces to deliver some hair-raising avant garde devices, led by a simple repeated motif in the strings which finds itself bleeding out into the rest of the orchestra. Riveting is probably the best word to describe this music. I always imagine that for a ‘rock star’ composer, being given an orchestra to play with is just like having the most exciting toy in the world; hearing what Greenwood came up with cemented that thought. Very effective and a lot of fun.

Sir Richard Rodney Bennett celebrates his 75th birthday this year. I had the pleasure of meeting him a couple of years ago and he really is a proper gentleman. While his birthday has been noted by a whole Prom this season, the Film Music Prom wouldn’t have been right without a tip of the hat to him and his music. Murder on the Orient Express is probably one of his highest profile film scores and the selection of cues performed at the concert were just fantastic. It made me wonder why I haven’t sought out more of RRB’s stuff. Murder is just such a thrill; a bit camp, lavish and colourful with a period hue. It reminded me of a story about Bernard Herrmann, who at the time said RRB had got it all wrong “What was he thinking?!” he said “This is supposed to be a train of death...”. Classic. It’s true to say the venerable British composer didn’t go down a dark route for the killer thriller, but his tongue in cheek, romping and melodic music is some of his best and the concert performance was a standout of the evening, truly.

Finishing things off, and in tribute to the late John Barry, was a lovingly performed Out of Africa and a barnstorming suite of music from a variety of James Bond films. On Her Majesty’s Secret Service, Casino Royale, Quantum of Solace, Goldfinger and ‘The James Bond Theme’ were arranged together and played with bags of panache and enthusiasm. The twirling cellos in David Arnold’s ‘You Know My Name’ were a great touch and said much for the overall concert. Keith Lockhart is a real showman and he brought a great energy, wit and enthusiasm to the evening.

Up next? The Hooray for Hollywood Prom on 29 August! John Wilson and his fine orchestra whisk us back to Hollywood's Golden Age again, hot on the heels of the MGM Film Musicals Prom in 2009 and last year's glorious Rodgers & Hammerstein Prom. I can't wait! Full report coming soon...

With thanks to BBC Proms and Royal Albert Hall

Hammering it out - BBC Proms: Michael Nyman

I know I bleat on about the Albert Hall, but I quite honestly never tire of being in that space and last night I found myself there once again for another of the BBC Proms. Last time was of course for the magic of the MGM Musicals with a vast orchestra, choir and vocalists on stage; this time, however, was a much smaller affair, though no less energetic methinks. Prom 54 saw the indomitable Michael Nyman take to the stage with his eleven-strong band to perform a late night set of music from his film scores and otherwise. A concert by the Michael Nyman Band is always something of a rambunctious affair, the music - and indeed the man himself - somehow unapologetic in their ‘down to business’ approach. Nyman took his seat at the piano with little fanfare and with a wave of his right hand immediately struck up the band for four selections from his 1982 score for The Draughtsman’s Contract. I’m always equally entertained and mystified by the music for this particular film, as it relentlessly and repetitively frolics along unashamedly loud and proud. There’s an air of naughtiness about it somehow, with the flagrant bassy piano bashing along and the brass having a whale of a time until they’re all seemingly rudely stopped in their musical tracks with the classic Nyman cadence; then comes that moment when nothingness pervades and you realise how brilliantly coloured the air was just moments before.

The uninterrupted set continued with a new piece commissioned by the BBC especially for the concert. ‘The Musicologist Scores’ was a lengthy (20 minutes) introspection of sorts, as the composer went back to his roots as a musicologist, deconstructing elements of music by Handel and Purcell, recycling them into his own composition. It was an entirely cyclical affair – as much of Nyman’s music tends to be – with a seemingly unchanging stream of notes, altering slightly with a new angle, a variation here, a new layer there, until it returns to the original root of the piece. It is of course deceptively difficult music, wholly mathematical, rhythmic and brilliantly structured; that said, when it’s chugging along for twenty minutes one’s appreciation for the artistry is overshadowed by a wandering mind and a sore bottom. It is of course hugely experimental music and Nyman’s tenacity in performing it should be admired if nothing else – we were indeed a captive audience and even the gentleman seated next to me following a copy of the printed score gave up at about the ten minute mark.



‘Six Celan Songs’ is a song cycle composed in 1990, based on the intense poetry of Paul Celan. Two of the six songs were presented, and the band were joined by Finnish soprano Anu Komsi who delivered both ‘Blume (No. 6)’ and ‘Psalm (No. 3) with an intensity – in German - that matched the words. It was the latter song which left the deepest impression though, its haunting lyricism overshadowing the much darker former piece, itself coming across with a dreary pessimism – bizarre when the title translates literally as ‘Flower’.

The final programmed piece was the ever-brilliant ‘Memorial’ from Greenaway’s The Cook, The Thief, His Wife and Her Lover. Once again Nyman’s hat is tipped firmly in the direction of Handel and Purcell, with the stomping bass line seemingly getting ever stompier and the petulant violin seemingly intensifying as if played through gritted teeth. It’s wonderfully steely music and never fails to, perhaps oddly, raise a smile – memories of cooked flesh and all kinds of arty eroticism coming to mind no doubt, not to mention the brilliantly vile Thief (Michael Gambon) who orders said meal (the Lover of the title) to teach the straying Wife (Helen Mirren) a lesson. Classic.

So it was definitely short, not particularly sweet, but certainly a lot to get your teeth into. Nyman’s music is ever challenging, always knowing, but at the same time beautiful somehow. His only encore – ‘Franklyn’, from Michael Winterbottom’s Wonderland – proved this in spades; a simple and elegant denouement which was definitely the calm after the storm. Hurricane Michael perhaps.


The Proms season continues until September 12th and you can catch all the action at www.bbc.co.uk/proms, not to mention nightly broadcasts on BBC Radio 3 and occasionally on BBC Television. See the website for full details!

With many thanks to Bethan Bide at BBC Proms.

On The Proms...

It’s amazing to think that the Royal Albert Hall is hosting its 115th season of ‘Proms’ concerts this year… The BBC Proms – as they’ve been known for sometime now – is without question the highlight of the Classical calendar in the UK. The world’s most accomplished musicians have descended on London year after year, performing music both classic and new to packed houses during the summer months. There’s a certain buzz about a Prom – and I’ve been fortunate enough to attend a few – that is somewhat difficult to explain. The experience of sitting beneath that vast dome seems somehow to unite those who have gathered to celebrate and join in the spirit and fellowship of music – okay, perhaps a touch over the top? Vomit inducing? Maybe… but it’s true; there’s a definite feeling of delight in that place, at those times. It’s certainly twee, but quintessentially British.

To extend the borders of the Proms – which of course are ever so London-centric – the BBC has found ways of bringing the experience to those outside the M25. Proms concerts are often broadcast on big screens in open spaces around the country, while some regional ‘Last Night of the Proms’ concerts have proven an interesting, and indeed interactive idea. Rolling out the carpet for the main event though have been the BBC Proms Preview Concerts, which are currently doing the rounds in the South of England (and only the South of England it seems…). I attended last night’s event at St. George’s Bristol, an all-too-hidden gem at the heart of the city, where the BBC Singers gave a free mini-concert of music by composers being represented this year at the Proms.

Music by Holst, Bach, Stravinsky and Mendelssohn were just some of the treats sung out by the neatly pressed troupe; their fluid – and at times powerful – voices ringing out perfectly in the fine acoustic of that beautiful space. Though brief at around forty minutes, the ensemble absolutely enraptured, with their performance of Stanford’s ‘The Blue Bird’ a captivating highlight featuring solo soprano Margaret Feaviour, while McCabe's 'I Sing of a Maiden' offered the newest composition in the selection and featured four soloists, including the very handsome (and equally talented) Christopher Bowen. The presentation ended with a wonderful tudor madrigal composed by none other than Henry VIII. With additional rhythmic hand percussion, ‘Pastyme with good companye’ left us in fine fettle indeed.


Proms Director and controller of BBC Radio 3 Roger Wright introduced the event, using the time of course to give us a brief insight into this year’s line-up. Mr Wright also used the opportunity to do a little market research, discovering to his delight that a good many of those in the audience had attended Proms concerts in the past. He seemed very pleased indeed, which he would be… I was pleased too, but also found myself pondering the demographics. Here was a room full of white middle class people who attend classical concerts on a very regular basis. It’s hardly a varied slice of the populace and if you’d given out tickets on the street and asked those people the same question, I know the response would be very different.

The remit of the Proms, as laid out by its founder Sir Henry Wood 115 years ago, is ‘Quality and Accessibility’ and our host assured us that this was still the case. Wood’s term certainly goes hand in hand with the BBC’s own of ‘Inform, Educate and Entertain’ and both attempt to work together to present a stunning array of talent (Quality) at an affordable price (Accessibility). Mr Wright was quick to assure us that the Proms was in no way a big money maker for the corporation, though he did reveal that a staggering £6m of licence-fee money goes into the production of the 58 days of live music – all of which is broadcast in some form - with ticket sales apparently accruing just £3m of that in return. So is it worth it? Well that’s an interesting question…

As a music lover, and someone who especially appreciates live orchestral music, then yes I think it undoubtedly is. Music is food for the soul and I can’t think of a better feast than the BBC Proms, but is everyone really getting a piece of the pie? Classical music inevitably draws a certain type of crowd and despite the best efforts of those involved, that’s the way it will always be. Each year there are a handful of Proms that go beyond the traditional, Classical idiom, with Children being the target for many of them. Whether it’s through Blue Peter or Doctor Who, the BBC try – and succeed – in getting young people through the door. Having been involved in the latter Doctor Who Prom I know first hand how it can work… Time will tell though whether that show, and that music will draw any of those concertgoers back again. This year’s programme sees many delights of course, and the BBC has seen fit to push their programming of ‘Indian Voices’ and Bollywood music, not to mention the appearance of Radiohead’s Johnny Greenwood, whose orchestral work ‘Popcorn Superhet Receiver’ is being premiered – both in Week 5. Another crowd pleaser is sure to be ‘A Celebration of MGM Film Musicals’ in Week 3, while I myself am looking forward to hearing music by Michael Nyman and Philip Glass later in the season.

These popular ‘shows’ overshadow the rest of the events – and I’m doing the same thing right now - but it proves a point that for some reason advertising the fact that all of Stravinsky’s ballet scores are being performed this season (which they are) won’t draw a ‘new’ crowd like that of a Bollywood spectacle, or a token rock star. The producers and those media vents in their pockets are perhaps somewhere between a rock and a hard place, because they need to be seen to be trying to attract a cross-section of society.

Is it enough though I wonder? The Proms Preview Concerts, such as the one I attended last night, take in just three other places: London (!), Brighton and Bath… that’s hardly a cross section. Televising concerts in open spaces around the country? Nice idea, but how about actually stage some of the Proms concerts at venues across the country; there are many fine halls that would suit, and a good deal closer to the homes of ordinary people who might think twice about travelling to London – whether the ticket itself is affordable or not. Quality? Certainly. Accessible? Not quite enough.


For more information on this year’s BBC Proms programme visit www.bbc.co.uk/proms.

With thanks to St George’s Bristol – http://www.stgeorgesbristol.co.uk/.