Interact & Reviews / Reviews

John Woodhouse
The Strauss was great, the Scriabin a bit tatty, Mozart and songs lovely, but Wayne Marshall should stop trying to play everything so fast just because he can! Still it was good to have the organ centre stage on TV for once!

Jonathan Radburn
Only caught the coverage on a small 14" TV whilst on Holiday with the Family. I must say it was the most enjoyable First Night I have heard/watched in several years. I'm sure like most people, the usual big choral work based First Night programme has become a bit predictable, dare I say safe. The new mixture of orchestral elements, a concerto and solo instrumental pieces created a great sense of what a proms season is all about; put simply variety! It acted as a sort of taster menu for what is coming without diluting the contents to please a broader TV audience as sometimes happens with the Last Night (eg. the regional sing-a-longs bit).

I see a lot of people have critisised having the presenters in a separate studio. I for one didn't have a major problem other than it all seemed a bit mob handed. Surely the excellent Charles Hazlewood plus one celebrity guest would be fine. Well done Roger Wright! I can't wait for my annual trips to the proms.

Chris Burton
My, what a whingeing, curmudgeonly bunch of critics. I too watched the the whole programme and thought it contained many high points including some sublimely subtle singing from Christine Brewer and, as has been pointed out, one of the very best violin solos I have ever heard in the 4 Last Songs. The Scriabin was a tad tatty in parts but eminently alive and enjoyable. And Wayne Marshall's opening: SUPERB. As for the Presenters? Well, they weren't perfect but were certainly lively, entertaining AND informative; and, thank God, not in a Radio 3 way. All in all a very good opener for the season.

M Williams
I am responding to listening to the concert on iPlayer since Friday night, and to reading the reviews. Obviously I didn't see the TV package, but I'm not surprised about people's attitudes to it - it has been excruciating quite often in the past few seasons.

However, if any of those who have complained listen to Classsic FM then there is the blueprint for such presentation of the material: don't sponsor it one day and decry it another!Musically the evening was impressive I felt. The pieces I listened in for were all wonderful: the Strauss prelude was unknown and very typical once it got going; the songs were superb in their feeling and restrained sentiment; the Messiaen showed why he deserves more play than he gets, Wayne M making the speakers shake on the shelf!

However, the final glory of Scriabin's "Poem of Ecstasy" was a double proof of the worst neglect shown to composers with slight repertoires (is it only seven orchestral scores?) and/or whose credibility is questioned becuase they are of a certain period, nationality, style etc. This uber-Romantic, writing in an at least quasi-Modernist style, much followed later by others (Holst, RVW, Walton to name a few Brits), showed how great music can stem from tiny fragments of tune and harmony.

The way the coda coalesces into the final chord was expertly judged I felt, and as well recorded, a match for my Ashkenazy recording from the 1990s. It was also interesting the hear the audience reaction; perhaps caught up in the moment to an extent, but I have often heard flat finales gain flat responses, this was fitting for a great performance.

As an old granny behind me in Sheffield said recently after a performance of Scriabin's piano concerto: "why don't we hear that more often?" - well quite. This was a great start to the season. Looking forward to the rest! Am listening to the Kennedy/Elgar at present; thought the Finzi and Bax were impressive too; and the Monday Messiaen also.

John Degoede
It was exciting, especially Die 4 letzte Lieder with an excellent soprano and the Messiaen organ piece Dieu parmi nous.

Steve, Huddersfield.
The first night, and I am already running out of superlatives. The unusual programme made great use of the Albert Hall; the thundering organ in the Strauss Praeludium and the Messiaen, Wayne Marshall's hands madly running up and down the four keyboards; nicely balanced small orchestra in the Mozart - Nicholas Daniel giving a fantastic performance.

And very successful solo piano - I really liked the Carter with a warm, witty soloist in Aimard. Finally the huge panoply of the Poem of Ecstasy. Belohlavek has worked wonders with the BBC S.O. - I haven't heard them sound so fine in years. In the Four Last Songs they combined beauty with a balance no doubt down to the conductor (I heard detail here I've never heard before).

An outstanding, entertaining, opening night.

Pat & Fred Henderson
We enjoyed the tv broadcast of the first night But God preserve us from the "presenters".

Can anyone remember Humphrey Burton with his quiet unassuming manner? He never intruded.

Charles Hazelwood was bareable but the two women were abysmal. Their musical knowledge was poor and their stupid conversation was tedious in the extreme.

In future why not have a short film about the life and work of the relevant composer or a professor from one of the music colleges giving some educated insight into the programme.

L. Longly
Once again I have to complain about the description of the venue as described by your presenter calling it a stage and not as it should be i.e. the concert platform.

Joxy
Beautifully played but empty bombast from the organ, delicate ditties from Mozart, maudlin melodies, more bombast, brief classic keyboard turning to tinkling ivories - time to give up on a random ragbag not worthy to be called a programme.

Stepan Howse
It was a brave decision to programme music by Messiaen, Carter and Skryabin-hardly household names-alongside Mozart, Beethoven and Strauss but it paid off.

My favourite piece of the evening was the Mozart oboe concerto which was Superbly played by Nicholas Daniel.Christine Brewer was disappointing in the Strauss "4 Last Songs" but the orchestra leader's violin solos were sublime.

After the interval Wayne Marshall nearly took the roof off with his organ playing in the Messiaen. Pierre-Laurent Aimart showed the breadth of his repertoire,and phenomenal technique,by following Beethoven with the U.K.prremiere of a piece by Elliott Carter.

The audience responded very positively to these works as they did to Skryabin's "Poem of Ecstasy", surely one of the loudest pieces ever written? The only downside was the clapping between every movement of the Mozart and each of the Strauss songs.

Phil Lawrence
I find Belohavek uncomforable with late romantics. Tempos for the Fest muisc were largley ignored thus string lines became messy which rings true from a Mahler 4 I went to last year where I was convinced he was to miss his last bus home.

The ensemble in the Strauss was frankly poor, last move after the picc duet, the penultimate chords were nothing like together with the conducting giving no space for pathos or measure!

The Orch was carrying far too many dep's, with the 1st trumpet (was he 16?) not being able to cut his way through the Scriabin on a Eb tpt? And the trumpet ensemble in the Fest music paid via the experience? Shame!

I dont like the celeb's in the comment box reminding us of thier next series. It waters it down! Andrew Davis, Lenoard Slatkin, now to join the stooges another duff appointment, Mr. Grumpy Belohavek!

Adrian Pallant
What a spectacular, thrilling and varied way to celebrate the opening of a new Proms season. Seeing Wayne Marshall in total command of the wonderful Albert Hall organ was so exciting to see in the Strauss and Messiaen, and Nicholas Daniela's performance of the Mozart was sublime.

But... the idea to move the presenters away from the action, and into a BBC Snooker-type environment has, I fear, served only to increase the vapid and superficial discussions (i.e. "It's taken Nicholas Daniel a lot of practice to get to the Proms", "I used to play the piano", etc., etc.!!!).

I look forward to a fantastic season... but hope the presentation improves. I'm all for making music as accessible as possible, but please let's not 'dumb it down' to this level. Looking forward to the Finzi... and Bellowhead!

J. Westerman
Is the BBC offering us The Proms or Charles Hazlewood (and others) accompanied by The Proms?I wrote some years ago about this and so did many other viewers. The situation is now worse.

Does not the BBC realise that (a) identification with the audience is all important (b) continuous talk-over the proceedings is death to such identification and enjoyment of viewing the orchestra and the coming and going of the artists?I previously asked if a coloured button could give us Hazlewood or no Hazlewood (and no talk-over by anyone), as in the case of a red button for Text or no Text.

How technically capable is the BBC? Would Roger Wright look at this as a priority and before The Proms go any further? The Proms are a delight. To have the whole atmosphere ruined by talk, talk, talk and talk-over could not be more infuriating.

Scott Cooper, Oldham
Absolutely outstanding start to the 2008 Proms season and what an opener, Richard Strauss's Festliches Praludium, one that certainly grabbed my attention from the outset especially with Wayne Marshall at the organ and musicians from the Royal College.

Then came the Mozart, again well programmed here, something less powerful but lets oneself tune into the wonderful playing by Nicholas Daniel and superb playing throughout this very difficult and in places very delicate piece. I'm sure Four Last Songs is a preview of things to come this season, especially the three mini-opera proms, stirling work by Karita and wonderful to see her here at very short notice.He did it again in the second half! Stunning organ playing by Wayne Marshall and again brilliant programming by Roger Wright.

A piece that again grabs one attention from the outset.The Beethoven straight afterwards worked etremely well, again a calm atmosphere before more fiercer work from Carter and Scriabin, some people say contemporary works doesn't work with earlier works such as Beethoven, but I think from this prom one can see that it does!I look forward to my two week visit to the proms from August 3rd... and it will be good to see familiar faces won't it Mr Wayne Marshall!

S. Riches
I thought this was a very muddled programme indeed, with no structure apparent. It had some promising moments, notably the oboe playing of Daniels in the Mozart Concerto where his musicianship was very apparent.

The Strauss Four Last Songs improved as they progressed, but did not move me particularly.The Beethoven was perfunctory as was the Eillot Carter, and I did not find myself responding to the Scriabin performance either - maybe it came too late for me in this strange mix of pieces.

I did enjoy the Messiaen though, but would have preferred to hear more than just a movement. The whole concert reminded me of a school concert programme put on to showcase particular talents, rather than to pursue a particular idea/composer/period.

A. Brooks.
Your live coverage of the first night of the Proms was a complete embarrassment. Charles Hazlewood didn't seem to know whether he was supposed to actually engage with his guests or preach to them - so he attempted both. It was clearly scripted and the tone was utterly wrong. I recommend you get this sorted otherwise you'll have people switching off in droves.

Stephen Hitchens, Sheffield UK
Hi! Wonderful First Night with Nicholas Daniel and Christine Brewer [The parts seen on BBC2 remainder listened to on R3] Oh Dear.

Applause between movements/sections. Whose idea was this?I know that most concert/performance traditions are constructs [people used to walk around throw orange peel etc in the 17th century] but this luke warm applause between the oboe concerto and the great Four Last Songs was just pathetic. Stamp your feet, wolf-whistle, raise the roof, but hej, just let the performers finish. Thank you.

Derek Bryanton
What a ghastly underwhelming first night. The concert started at 8pm and by 9:40pm there had been only 54 minutes of music - in fact more commentary than music. Is this meant to be access? I expect massive numbers switched off and put the kettle on instead. And all these inane comments about the number of pipes in the RFH organ etc.

James Thirlwell
The music is very good and enjoyable. However the sessions of three presenter spouting utter garbage spoilt the whole thing.

Timothy Mandy
Christine Brewer reminded me of my being at the Albert Hall in May 1950 to hear the great Kirsten Flagstad sing Strauss's Four last Songs. She had been given the songs by Strauss himself before he died the previous year. She sang with Furtwangler and the Philharmonia. After the interval she sang the finale of Gotterdamerung. What a night to remember.

Artistry
So far, the music's great. But what's going on on the TV programme? They've turned it in to a light entertainment show with that woman off Dragon's Den being asked asinine questions. "Organs are different wherever you go. Deborah, this must be a bit like the business world, mustn't it?" They even played a clip from the programme in the interval! Tell me about the music! I hope this isn't the shape of things to come...

Richard van Ginkel, Nijmegen, The Netherlands
What a pity that we leave (on television) the RAH during changements. I like to be part of the concert (see prommers and so on), not part of a studio-bound in between! First part was great, especially both Strauss-works.

Robert Patten
So far I haven't got past the second movement of the Mozart Oboe concerto because I am seething.

Would the person who has his or her fingers on the "Visual Mixing" equipment please go home and leave the buttons severely alone. A trend seems to have grown and accelerated over the last few years so that, now, the Visual Director refuses to allow the picture to remain unchanged for more than 2.7 seconds at any one time.

It makes the broadcasts quite unwatchable to have the picture constantly switching from shot to shot not just at each different musical phrase but practically at every bar. Would you please leave the picture static for much, much longer periods - like for the whole of a chief musical section. Do you think you could possibly show us the Conductor over longer periods so that we can observe his(/her) skills - at the moment the conductor might as well be exclusively on the radio for all the time that he/she is to be seen in shot.

Meanwhile, someone clearly mis-advised the oboe soloist as his choice of a purple shirt and grey lounge suit really looked silly. Either go for standard black and white - which has worked for years because it is visually neutral and avoids distractions - or else go for something really dramatic and flamboyant.

And lastly, with a new season we are back to the shambles which the BBC failed to discourage in the last couple of years, of attempts to start applause between Movements. You may remember that last year [Or year before?] Nic. Kenyon ostentatiously sat on the fence about this matter, but thankfully it dies out as the season developed and the audiences came to realise why applause between meovements is usually a bad idea.

Incidentally the Conductor ought to be able to control this situation by means of body language or something even more positive, but this chap evidently didn't bother to be on guard.

I couldn't see what he did because I was already on the computer to write to you about the dreadful, fidgety Visual Mixing, about which I feel so strongly. You now have all this brilliant technology --- but have you not heard of "Less is More" ????

Asro
We are enjoying the music, but what is the point of putting the commentators in a kind of bunker - or 'den' ! It completely cuts us off from the unique atmosphere of the proms. Please put them back in the hall.