Interact & Reviews / Reviews
Prom 14: La Transfiguration
- Date Sunday 27 July 2008
- Time 7.00pm - c8.50pm
- Venue Royal Albert Hall
Composed in the mid-1960s, La Transfiguration de Notre Seigneur Jésus-Christ marked Olivier Messiaen's return to writing for voices after a break of 17 years.
The work is inspired by Christ's transfiguration as reported in the Gospels of Matthew, Mark and Luke: the moment when he is suffused with light, speaks with Moses and Elijah, and is named the Son of God.
This huge score, with seven instrumental soloists, a choir of 200 and a vast orchestra, is one of Messiaen's most imposing and powerful creations, a fervent expression of his passionately held Roman Catholic faith - and highlight of this year's Proms Messiaen centenary celebrations.
- Messiaen La Transfiguration de Notre Seigneur Jésus-Christ (98 mins)
There will be no interval
Gerard Bouwhuis piano
Adam Walker flute
Julian Bliss clarinet
Sonia Wieder-Atherton cello
Colin Currie xylophone
Adrian Spillett marimba
Richard Benjafield vibraphone
Philharmonia Voices
BBC Symphony Chorus
BBC National Chorus of Wales
BBC National Orchestra of Wales
Thierry Fischer conductor
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Chris
This was definitely a first for me and I regret not being prepared for its sprawling length; so certainly half an hour too long for my albeit virginal taste. But oh so fascinating to watch. Congratulations to the performers for sheer stamina and musicality, an unusual combination. But I could only cope with it again in roughly 45 minute segments!
Philip
An amazing achievement to bring this piece off so well - I was spell-bound. So good to hear this music live. Surely the only way to hear it properly - the percussionists were wonderful to watch, as were the other soloists. Gerard Bouwhuis gave a brilliant performance by any standards, but especially from someone called in at the last minute.
James Ellis
Yes as always with Messiaen any work is LONG. His opera is four hours and he also wrote the longest work ever written for piano and orchestra - Des Canyons aux Etioles (which should be done this year as well!). But still this was my orchestra from Cardiff. I support them and anyway I love Messiaen. Can't wait for the opera!
Simon
What struck me forcibly listening to this music live for the first time (I've got the famous Dorati recording) is the ritualistic element that is more clearly understood by watching as well as listening. A fascinating and rewarding evening at the Albert Hall.
Sheelagh Davis
La Transfiguration was an unusually snug fit in the acoustics of the RAH - my attention wavered from time to time (10-20 minutes could be shaved off without any damage) but I was mainly swept along by the majestic sweep of Messiaen`s conception. Most definitely NOT a waste of time.
If I may - a suggestion for 2009 season: Beethoven - overture 'Concecration of the House', Toovey - Viola Concerto, Vivaldi - Gloria (in authentic size of orchestra and choir) CSO cond. Muti.
Keith Whittock
Congratulations to all the performers for their stamina. You did Messiaen proud. I attended the 1970 Proms performance (the 2nd ever performance) and have loved the piece ever since. It was great to hear details and insights that I had never been aware of before, not least to appreciate Messiaen's tribute to Xenakis. It was a memorable event - thank you so much.
David Authers
The concert suffered from being broadcast in that those in the hall had to wait while, presumably, a continuity person told the audience on Radio 3 what was going to happen next. Consequently the concert over-ran and in the suffocating heat of the Hall it must have been very difficult for the performers, and those of us in the audience were extremely uncomfortable. 2058 for the next performance?
Chris Osland
Why on earth was the concert (the live one, in the RAH) repeatedly halted so that some commentator could finish an over-long spiel? The programme says there is a pause after the first 7 pieces, yet we had to sit through 3 or 4 pauses while the conductor appeared to wait for permission to continue from the commentary box. It was like watching the Superbowl. The person behind me commented on the 'commercial breaks'! The commentary was audible (but not intelligible) from the far end of the hall.
Mr/Mrs Woodhouse
It was all the same chords - how anyone could stand through it I don't know, and the piano part seemed ridiculous! Conductor brilliant but it seemed like a waste of effort.