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.

Straight from the Lion's Mouth - The MGM Film Musicals Prom

The Royal Albert Hall was bathed in the glow of Golden Age glamour last night as the BBC Proms celebrated the great MGM Film Musicals. The hall was something of a time machine as we were whisked back to a bygone age, with the John Wilson Orchestra, the Maida Vale Singers, and a host of vocal stars performing show-stopping numbers from the great Studio’s glittering heyday.

The project has been a labour of love for Wilson – a lifelong fan of the classic MGM sound – and the concert was the culmination of many months, if not years, of work reconstructing the original scores, literally raising from the dead the notes once put on paper by some of Hollywood’s most talented songwriters and orchestrators. With the decline of the original MGM studio and the subsequent buying and selling of its major assets, the music department archives found themselves out with the trash as developers cleared space for a new parking lot. It almost brings tears to your eyes when you think of the gems – largely notes on a page – that were discarded and probably used for landfill. All that remains are the original conductors’ books, held within the Warner Bros. archives in Burbank and it is those musty, but magical, pages that formed the basis of John Wilson’s restoration. Of course those books held only so much information about the orchestration and arrangement of the music, and so Wilson quite simply had to sit down, listen to the recordings and watch the films to transcribe note for note every part and every second of music.


The result is a tremendous feat and the show put on last night was truly a marvel as this hand picked orchestra, replete with dance band and chorus, managed to quite convincingly recreate the sound of the MGM Studio Orchestra before our eyes and ears. Opening with the swirling ‘MGM Jubilee Overture’ (arranged by then head of music, Johnny Green) I was left in no doubt that we were in for a very special evening. The scintillating strings, and those chorus voices, just smacked of another time and you couldn’t help but grin from ear to ear. From the overture we arrived at the first song, ‘The Trolley Song’ (from Meet Me In St. Louis). Once again I was bowled over by the immense sound coming out of the 95+ ensemble on the stage, while the lead vocal by Broadway/West End star Kim Criswell was as bright and peppy as it should be. If we were in any doubt of her skill at ‘becoming’ Judy Garland, her performance of ‘Over the Rainbow’ – which followed – was sublime, and enough to reduce my friend to tears.


Each of the solo vocalists embodied the original performers admirably, while at the same time bringing their own personality to the pieces. Curtis Stigers cut a fine figure as he stepped out onto the stage for the Astaire number ‘Steppin’ Out With My Baby’ (from Berlin’s Easter Parade), while the higher brow figures of Sarah Fox and Sir Thomas Allen (soprano and baritone respectively) raised hairs with their beautiful, velvet tones on the likes of ‘More Than You Know’ (from Youmans’ Hit The Deck) and the classic ‘Stranger in Paradise’, as featured in 1955’s Kismet. Prior to these we were treated to the wonderfully rambunctious ‘Barn Dance’ from Seven Brides for Seven Brothers. The performance was an early highlight and the orchestra proved themselves even further, turning out a dazzling performance. At one point the string section took to their feet, while members of the chorus – not to mention soprano Sarah Fox – let out the odd ‘Yee Haw’. The piece, originally arranged by Adolph Deutsch, is a classic example of just how intricate and indeed difficult some of this music is; the pace was unrelenting and the players were put through their paces and no mistake, but they rose to the challenge and knocked our socks off with their energy. The smiles on their own faces were evidence enough that, while it was hard work, it was worth every bead of sweat.


One of the surprises of the evening was the last vocalist, one Seth MacFarlane. Known rather more widely for creating, writing and voicing the TV hit Family Guy, MacFarlane proved himself to be quite the crooner also. Doing a very fine impression of Frank Sinatra, he brought to life – with a little help from Criswell and Stigers – the likes of ‘Who Wants to Be a Millionaire’, ‘You’re Sensational’ and ‘Well, Did You Evah?’ from the classic Cole Porter musical High Society. The latter saw Stigers take on the Bing Crosby role, and both tuxedoed stars bounced off of one another well, champagne in hand.

There were plenty more highlights and surprises, from musicals both beloved and relatively unknown to the layman. 1955’s It’s Always Fair Weather and the previous year’s Deep in My Heart were examples of the latter, though both provided further brilliant turns from MacFarlane, Fox and Sir Thomas Allen. The latter star had his big moment in the Lerner & Loewe classic ‘Gigi’ from the 1957 musical of the same name, while Criswell brought the house down with the uber-classic ‘Get Happy’ which, if you didn’t know, was composed by Wizard of Oz composer Harold Arlen and featured in the 1950 musical Summer Stock (coincidentally Judy Garland’s final bow for the studio).


It was 1952 which saw the film that would embody the MGM Musical ideal and Singin’ in the Rain remains the jewel in the crown, not just for the talent on display (on and off screen) but also for its iconography. Seth MacFarlane took on the title song, this time doing his very best Gene Kelly impersonation, while the hardy group of regular ‘Promenaders’ standing down at the front twirled their umbrellas. It was something of a magical moment, Conrad Salinger’s beautiful, bouncing arrangement filling the air and epitomising the night we’d shared with this brilliant band and the music of the golden age. That wasn’t all though, as the show closed with Singin’ in the Rain’s ‘Broadway Melody Ballet’, a tour de force on screen as Gene Kelly – convincing studio bosses of his latest idea – descends into the fantasy world of that idea and dances his way through set piece after set piece. We were treated to the entire routine – sans footwork – with the company singing and having a ball. This of course resulted in rapturous applause and cries for more, with the stars returning to the stage for ‘That’s Entertainment’. MacFarlane made fans of Family Guy very giddy by singing a couple of his lines as ‘Stewie’, a nice touch for those in the know.


I’ve seen many shows in my time, musical and otherwise, but I can’t remember a time when I’ve been so captivated and so uplifted. The artistry on display, both on the page and on the stage was truly awesome and John Wilson’s dream – finally realised live at the Albert Hall – was nothing short of a triumph, straight from the Lion’s mouth.


With thanks to Bethan Bide at BBC Proms.

A Happy Tune - The King and I at the Albert Hall

I do love a good show; whether it’s a live orchestra playing, well, anything frankly, a talented singer doing what he/she does best, or indeed a glitzy Broadway/West End show. The latter took me further west last night - Kensington in fact - where Rodgers & Hammerstein’s sumptuous musical The King and I is currently enjoying a lavish revival at the Royal Albert Hall. It’s only the second time the glorious Victorian arena has staged a full blown musical – the first time being the Tenth Anniversary production of Les Miserables back in 1995 – and once again the hall was brought vividly to life with music, dance and colour. Of course this show is one of the old school Broadway spectaculars of the 1950s, the pair’s fifth ‘modern’ musical together, and like Oklahoma!, South Pacific and The Sound of Music, it’s littered with memorable melodies, larger than life characters and oodles of charm.

Leading a large ensemble cast were Maria Friedman and Daniel Dae Kim – as Anna Leonowens and The King of Siam – while fine support was given by the likes of well known screen actor David Yip and soprano Jee Hyun Lim, not to mention the many other faces and voices of the royal household. Miss Friedman is of course one of the stage’s brightest stars and she shone brightly in this perfectly cast role, in fine voice and emitting a wide-eyed warmth in a series of elaborate dresses. Mr Kim, most recognisable from TV’s Lost, made his London stage debut with this show and while he was by no means the strongest singing voice in the cast, he won us over with a charming and at times humorous portrayal of a man courting the modern world, but one who refuses to bow down to it. From their first moments together on stage I found it hard to imagine that the pair would gel and become a believable duo – but that’s the point of the story I suppose, they’re as opposite as opposites can be and the feelings between them are buried way beneath the surface. Later the bristles soften of course and their joint success at impressing the British envoy and his party, celebrated with a joyous dance lesson was truly delightful, not to mention their emotional, but understated parting.


Of course the Albert Hall is not a theatre per se, and so this production was performed ‘in the round’, the actors performing in the centre of the hall with the audience surrounding them. The setting of a musical in this way is quite a different experience for both performer and audience member alike, as for the former the space and direction of projection is increased and for the latter the performance is that much more immediate – for some it was literally right before their eyes. It was a challenge for sure, particularly for those creative minds tasked with staging the show and creating the world before us. When you’re being seen from all angles there really is nowhere to hide and the team can be congratulated not just for creating a lavish setting – replete with bodies of water, boats and indoor fireworks – but also for doing it relatively conservatively. Don’t get me wrong, there was bags of opulence in the Siamese Palace, but the use of space and the change over between scenes was well executed and required little fuss. There is definitely a weightier focus on performance and costume when there isn’t a myriad of backdrops and moving scenery and in this case it was a real winner.

This was my first viewing of this particular show and I went into the hall imagining all the music would be new to me; that was naïve of course as I instantly recognised many of the songs. Staple repertoire fillers such as I Whistle a Happy Tune, Getting To Know You and Shall We Dance? were instantly recognisable, while Hello, Young Lovers and I Have Dreamed were new to me and I shall certainly seek them out and listen to them again. The latter saw beautiful performances by Ethan Le Phong and Yanle Zhong as the young lovers Lun Tha and Tuptim, who cannot be together as she ‘belongs’ to the King. Le Phong was especially impressive and he would have made a fine King – I’d like to have seen/heard him perform A Puzzlement, the King’s big number, which was probably the weakest song in the show sadly.

Dance of course played a role in the show and the set piece for choreographer Susan Kikuchi was the performance of The Small House of Uncle Thomas, during which Princess Tuptim addresses her hatred of the King through her interpretation of an American story about slavery. To be honest this part was a tad lengthy and it was easy to lose focus – a casualty of the ‘round’ setting perhaps, being that the effects had to come from props and lighting on the ground, rather than the all encompassing and changeable surround of a proscenium stage.


Performing the music on the stage proper – though cloaked behind flowing drapes and ornate columns – was the Royal Philharmonic Concert Orchestra, conducted by seasoned Musical Director Gareth Valentine. The usual acoustic was somewhat dulled by their shroud – though to be fair it was the voices that were the main focus here – but they did a wonderful job as ever. The score represents one of Richard Rodgers’ finest and most incandescent, with the March of the Siamese Children being a wonderful musical set piece and highlight as Anna meets each of her new pupils, just some of the King’s many heirs. The children themselves were warmly received and each turned in a lovely performance – though at times it seemed Prince Chulalongkorn was lost somewhere between Hackney and Bangkok, as his accent flitted between the two quite often. Neither he or young Louis – performed here by Tony Nguyen and Lewis Cornay – were given their chance to shine vocally as their song, the Reprise of A Puzzlement was excised from the show for reasons unknown. Of course I wouldn’t have known otherwise having never seen the show before, but my companion actually played the part of Louis in the 1990/91 production (starring Susan Hampshire as Anna) and so he immediately drew my attention to it.

Richard Rodgers and Oscar Hammerstein II rejuvenated the Broadway stage with shows like The King and I in 1951 and this week it’s happening all over again with this gilded spectacle at the Royal Albert Hall. This is a rare opportunity to experience musical theatre as never before and while the likes of Hairspray, Avenue Q and Wicked are perhaps more flavour of the month with the younger generation, they owe their existence to shows like this. The old ones really are the best and no mistake.


The King and I is at London’s Royal Albert Hall until June 28th. Tickets are still available priced between £21.50 and £62.50. Group discounts and hospitality packages are available. Visit www.royalalberthall.com for further information or ring 020 7838 3100 to book tickets.

With huge thanks to Jodie Jenkins at the Royal Albert Hall.

Rolling out the Classics - Filmharmonic 2009

There is one permanent entry in my diary year after year that I always look forward to and can never bring myself to miss – Filmharmonic. I go along to the Albert Hall knowing fully what to expect – indeed this is my fifth year – as the Royal Philharmonic Orchestra take to the stage to perform some of cinema’s greatest film themes. Before you open the programme you know you’re going to see the words Gladiator, Star Wars, Lord of the Rings, Harry Potter, Mission: Impossible, Superman, Witness and Pirates of the Caribbean. These days you know you won’t see Rocky in the programme, but you know full well that Bill Conti’s rousing fanfare and theme will provide the encore piece. Does any of this matter? I used to think so, but I’ve come to embrace the annual dusting off of the classic film music repertoire. Why? Because it’s just so damned good.

There’s no doubt either that the performance won’t be up to scratch and this year it was largely agreed that the RPO excelled themselves with what I considered a really punchy performance. A few pieces in the past have come across somewhat lacklustre, tired even, but this year they were each performed with a lot of flair and power, particularly Williams’ glorious theme from Jurassic Park (though they still use the score with the wrong note at the start!), the obligatory Superman and Goodwin’s downright brilliant theme from Where Eagles Dare.

A highlight moment for me always comes with the guest conductors and while the producers rarely stray far from their usual contact list, it’s always a nice opportunity to a) see a composer conduct their own music, and b) hear something you haven’t heard live before. Last night saw David Arnold take to the stage at the Albert Hall for the first time in a few years. David would be the first to agree he isn’t really a conductor, but he kept the ensemble together – using a red pencil I might add – and appeared to thoroughly enjoy conducting his perky waltz from The Stepford Wives, an orchestral rendering of ‘You Know My Name’ from Casino Royale and the cue ‘A Night at the Opera’ from Quantum of Solace. While the former Bond snippet was obviously barnstorming, the real highlight for me was the latter dramatic cue and although it didn’t end with much fanfare, it was a riveting addition.

British Film and TV stalwart Debbie Wiseman is a permanent and very welcome fixture at Filmharmonic and she can always be counted on to bring her latest score pages – and a rowdy posse – with her. This year saw her lead the orchestra through a suite from Lesbian Vampire Killers - her most recent film score – preceded by a selection from Tom & Viv – her first. It was a nice touch making those career bookend selections and the former certainly went down well, with members of the film’s team – including director Phil Claydon – offering no end of support from their seats in the Grand Tier. I told Debbie I would make some noise after the suite, but it really wasn’t needed with them in the room! While the film itself has suffered very mixed reviews, there’s no doubt that the music is a triumph. The composer and director make a good team and I’m fairly certain it won’t be the last we’ll see and hear of them together.


As usual a few additional nuggets littered the programme, with a rendering of Ray Parker Jr’s Ghostbusters title song leaving me slightly red-faced in the first half. While it featured very colourful orchestration and some great brass, it was all just a bit embarrassing frankly… I’ll never condone orchestral versions of songs. It really was something weird, and it didn’t sound good, particularly when it came to the point where people would normally shout ‘Ghostbusters!’ – that was left to the brass… oh dear.

What should have been embarrassing at the end of the first half was a selection of American TV Themes and while you’d be right in thinking it’s a bit of a stretch for a film music concert, it actually ended up being one of the best bits of the night. Opening with Bill Conti’s brilliantly applied themes for Dynasty and Cagney & Lacey (which was rightly met with a very big cheer and applause come the end), the ensemble presented Mike Post’s dramatic opener for LA Law, before ending with Jerrold Immel’s infectious Western-tinged theme for Dallas. I was a fan of TV Themes long before I discovered film music – okay, I was about 10 – and these four themes always scored highly for me. I do believe Conti’s Cagney & Lacey is a contender for ‘Best TV theme Ever’, and it was a giddy childlike pleasure to see and hear it played by a full orchestra.

So you see there’s always something to get excited about at Filmharmonic, even if you think you know what to expect. The hall was very full as it always is and when our affable host Tommy Pearson – who did a fine job as usual – asked if anyone hadn’t been before, I was surprised to hear a great many voices shout out. That’s a wonderful thing and indeed another reason why the RPO roll out the classics annually, because there’s always someone who is yet to experience the power of live orchestral music, and live film music at that. More of the same next year – May 14th 2010! Don’t miss it.


You can experience the delights of the Filmharmonic repertoire on a newly packaged triple CD set, available from the shop at www.rpo.co.uk. Visit www.royalalberthall.com for information about the RPO’s next film music concert – ‘The Best of Bond’ – which takes place on Friday 13th November.

With thanks to Doran Harding, Debbie Wiseman and all at the Royal Philharmonic Orchestra.