Proms at … Battersea Arts Centre - 27.7.19

[Eine Alpensinfonie]

15:00 Saturday 27 July 2019
Battersea Arts Centre



Oliver Coates
Crewdson
Cevanne Horrocks-Hopayian
Jennifer Walshe

Oliver Coates, Crewdson & Cevanne, Jennifer Walshe, Kit Downes, Neil Luck and Musarc experiment with found sounds, new instruments, electronics and the outer limits of the human voice.

[Eine Alpensinfonie]

Not much indication about what's being played, so please talk amongst yourselves.

[Bryn]

Not much indication about what's being played, so please talk amongst yourselves.

No indication of promming tickets on the day, either, as far as I have seen.

[bluestateprommer]

No indication of promming tickets on the day, either, as far as I have seen.

BAC's own page has info (this is why I put the link in the Forum Calendar ;) - hint, hint to all here):

https://www.bac.org.uk/content/45595/whats_on/whats_on/shows/bbc_proms_at_battersea_arts_centre

"ACCESS INFO
This is a standing event. However, there will be a few chairs available for those less able to stand.

If you need to leave the auditorium, re-entry is permitted at specific points throughout the performance.

Step-Free Access
This event takes place in our Grand Hall, which has step-free access through the Grand Hall entrance. There is an accessible toilet near the Grand Hall.

There is also step-free access into the main foyer of our building, and to the Scratch Bar with accessible toilet facilities on the ground floor."

Reading between the lines, it sounds as though all tickets are "Promming tickets", and don't need necessarily to be queued for on the day, so that one can buy a "Promming place" in advance.

[bluestateprommer]

The lack of discussion on this "Proms at..." concert perhaps speaks for itself. Having heard it, I got a sense that the hipster/trendy quotient seemed quite high. For the first selection, Jennifer Walshe's 'Glori', I almost shudder at the thought that she might have had to pay royalties for all the pop songs from which she strung together single phrases to make this selection (I think the new Broadway production of Moulin Rouge! has that kind of copyright royalty nightmare). I'm not sure that I found major musical merit in most of the works, even if I can appreciate the hard work of the musicians in pulling each work off. At the end, I have to feel some pity for anyone who didn't think to bring earplugs for the final Oliver Coates selections, because of the eventual wall of sound effect. At home, of course, I had the advantage that I could turn down the volume just a bit.