David H Spence
Noseda got things to a brisk, vigorous start with the Beethoven Eighth, but a most unyielding, unsmiling one for most of it. Lyrical subjects, episodes here and there were fine including the trio of the Menuet - the main sections of which got to a very forceful start. Ensemble, sense of rhythm was always strong, but with especially a second movement that was played too altogether straight and very driving finale, there was only so much room in this Eighth for charm.The Schumann Second also started somber and sonorously dry a bit too quickly. It then propelled itself headlong into the exposition, only to let up and let up well for the opening of the development of the first movement, in which Noseda helped impart some bloom to lyricism from his winds. The strings opened the scherzo lightly, though strict to tempo, until some very hard pushing at the very end; Noseda found the proper relaxation for both trio sections, especially for the chorale lines in the second of them. While never too slow, Noseda was slow at allowing the Adagio to open out. Once it did, and for lack of sentimentalizing it too, it was genuinely felt. After somewhat of a hard push to the start of it, the finale proceeded with astutely observed balances throughout - rapid lines in the violins clear and lithe from just moments in. Noseda filled out development of lyrical ideas in the piece and cumulatively as well of wind, brass chorale lines completely. At the very least, he certainly had spent quality time with the score open in developing a completely thought through conception of it - more than I can say for a conductor of the same piece I heard with Staatskapelle Dresden from on Radio 3 a few months ago.Though offering us a flood of opulent, sensuous tone throughout, Fleming excessively took a broad brush to Seven Early Songs. The alternatively winsome and impassioned naivete expressed in the texts got shortchanged; production at times was a little scoopy as well. Noseda accompanied competently and deftly, while unable to generate more interest than in what just simply was Berg’s advanced harmonic language at the time. Matters improved for both Korngold arias; here I had the new Homage disc for comparison. I found Fleming just a bit lighter, subtle on disc in depicting certainly a heroine of duplicitous emotions from Wunder der Heliane. The charm to the melodic line to Kathrinn’s aria and just winsome grief over having to temporarily take leave of a boyfriend was plenty for this piece, though Fleming is found to plumb one level deeper with this same piece on disc, with the rich, subtly deployed patina of colors of the Mariinsky backing her at their disposal. Noseda’s ear for the schmaltz and rich color of it all, however, and as he deftly imparted such, was complete, in accompanying La Renee. Noseda’s sensitivity for the somber mood of Britten’s Sinfonia da Requiem, and simplicity in pacing it, amply fulfilled fine expectations one prom later.

M.J.W.
I read a review in the press unfavourably comparing Ms Fleming's performance of the the Korngold to the Berg earlier in the concert - it must have been the hall, since the stunning performance of the Korngold arias made the Berg songs seem almost clumsy - while I did note some awkwardness in the German enunciation in the latter, the Wunder der Heliane in particular rivalled Lotte Lehmann's fabled recording.

Edmund Barham
Renee Fleming is a superb artist but like so many lyric voices hers was severely compromised by the sheer size and acoustic of the hall.Listening again to the concert at home gives a far more favorable impression,in yhe hall the lower register was covered by the orchestra and she was at times nearly inaudible.

Edmund Barham
Renee Fleming has a most beautiful creamy soaring and richly coloured voice I heard her recently in THAIS from good stalls seats at Covent Garden the Albert Hall is a very Different proposition,she wisely did not force her voice beyond its natural limits and the quality is there to be heard listening back to the concert via the pod cast.,Unfortunately even from good seats in the Circle she was often just audible in her lower register although her glorious top register and floating pianissimos carried her sound into the vast reaches of the hall.Her diction so clear over the radio was practically indistinguishable in the vast unforgiving space that is the graveyard for singers who are anything less than super helde.I used to sing concerts for Raymond Gubbay who wisely adopted amplification for his concerts after realising that even big voiced singings were pretty much inaudible.Kirsten Flagstad who premiered Strauss 4 last songs at theHall is unfortunately no more and the really dramatic voices seem no longer to exist.Do listen to the pod cast it is quite a dfferent experience and a treasure as is Fleming but not at The Albert Hall

J. Adams
JohnRenee Fleming is always superb with orchestra, one of the few who has the instrumental quality to blend with the various timbres. Even though rather low at times, she navigated the difficult vocal line with complete assurance. I am often puzzled why English critics often don't warm to American singers, and after listening to this performance, I am even more suspicious. Perhaps they yearn for those straight tone sopranos with no color in the voice! She has matured greatly the past couple of years, a fact noted often in the American press. My advice is to enjoy this fabulous voice while it is in its prime.

Kevin McD
A very strangly programmed Prom. I just don't get Renee Flemming, vocal blancmange!

Chaz
I can only hope before I die that I will hear in person Renee Fleming (which will be a race for me since I have disabling heart disease). These Korngold pieces caused me to weep. Surely the angels must envy her glorious voice!! But why that Beethoven symphony- especially just before Ms.Fleming!!

Margarida Mota-Bull
A magnificent, well thought out programme was how I would describe the one chosen for Prom 32, with the right balance of great popular classics and lesser known, more contemporary works. Conductor Gianandrea Noseda brilliantly led the BBC Philharmonic orchestra in a display of colour and drama in the first piece, Beethoven’s 8th symphony, achieving a wonderfully, fresh rendition of a well known and very popular work. The orchestra was in perfect tune with Mr Noseda and responded enthusiastically, delivering a splendid performance, warmly acknowledged by the packed auditorium of the Royal Albert Hall.

Once the well deserved applause died out, the audience held their breath in anticipation of American soprano Renée Fleming’s appearance; currently one of the best voices on the planet. Ms Fleming walked onto the stage, looking radiant and happy to be there, dressed in a stylish light green gown, leaving one with only a single word to describe her entrance: class. She received a particularly enthusiastic welcome from the public and that before she even opened her mouth. Composed, with a magnetic stage presence, she began to sing, fully living up to her reputation. Ms Fleming’s rendition of Alban Berg’s Seven Early Songs was perfectly judged, delivered with delightfully lyrical musicianship, displaying her voice in all its richness, beautifully interpreting the poems with the right level of sentiment and clarity of tone, in an excellent expressive German pronunciation. Renée Fleming’s use of languages is impressive and an example other opera singers should look up to. Besides German, I have heard her sing in French, Italian, Czech and Russian and her diction was perfect and clear throughout, giving the appearance that she is fluent in all of them.

After the interval, the programme continued with two beautiful works by Erich Korngold, a composer less known but who Ms Fleming has often sung. The two arias – Ich soll ihn niemals, niemals mehr sehn from “Die Kathrin” and Ich ging zu ihm from “Das Wunder der Heliane” – are beautifully touching, romantic pieces and again her expressive voice displayed all its qualities, particularly in the harmonies, delivered with crystal clear purity. Ms Fleming’s rendition showed all the wonderful subtle nuances of her voice in the lower and middle ranges, contrasting with her rich, warm high notes that always send shivers down one’s spine. Her performance demonstrated her fabulous coloratura and was simultaneously beautiful and moving. The enthusiastic roar of the Royal Albert Hall when she finished proved that the welcome she had been given lived up to expectations and in fact exceeded them; leaving the audience crying out for more. The evening finished with what I believed was conductor Gianandrea Noseda’s tour de force. His delivery of Schumann’s 2nd symphony; a beautifully lyrical but also powerful piece that often demands virtuosity from the orchestra, was amazing. He led the BBC Philharmonic in a sublime rendition, energetic and at the same time dramatic; full of expression and feeling, poetic and moving in the middle sections and contagiously uplifting, particularly during the final movement. It was wonderful to see how the orchestra went along with him, obviously enjoying themselves, matching him in temperament and drama. The spontaneous cry of bravo from the audience at the end of it, denoted everybody’s enthusiasm and the wonderful rapport this young conductor was able to establish with the orchestra and the public. It is difficult to summarise this Proms concert in a couple of words but I think I will settle for superb and fabulous.

John Potter
I caught the second half on BBC4 and was bowled over by Renee Fleming in the Korngold. Now I know why she is so highly regarded. I have not heard the Schumann 2nd for many years and Noseda's excellent performance enthused me to dig out my old recordings of the symphony.

bouman
Beethoven: a lot of energy. Great work by the orchestra. Schumann: great performance! Thanks, Mr. Noseda. It was a beautiful concert.

John Ducker
A hugely enjoyable prom, albeit curiously programmed with the Schumann 2nd symphony after the superbly lush rendering of the Korngold songs by the wonderful Renee Fleming. Fascinating too, to see how conducting styles contrasted between the hugely secure economy of Rohzdestvensky with the RPO the previous evening and the 'totally energised control' of Noseda this evening with the BBCPO. I wonder which style the orchestral players prefer? And does it matter? (Answers on a postcard!)