Prom 1 (30.07.21) - First Night of the Proms 2021

[bluestateprommer]

Well, it has begun . Fine start with the RVW; Allan Clayton struck me as the best of the 4 featured soloists, granted that I've never heard the 4 soloists + chorus version of the RVW before. I'd read somewhere about a stage extension at the RAH to accommodate social distancing for the musicians, which of course reduces the size of the Arena. Petroc mentioned that the Arena looked half-full, so people are understandably being cautious about returning. But this is certainly a situation where half-full is far better than nothing. Hopefully everyone in the audience truly is vaccinated, or at the least observing safe practices.

(We might learn about the cufflinks culprit later :) .)

[Eine Alpensinfonie]

Very disappointed with the singing in the VW. It sounded like a wobbling competition.

[Bryn]

I have waited to watch it as well. I found the television introduction very well done. Lots of background covered, and without any hint of patronising mode of address. Tears in my eyes from the opening of the RVW masterpiece.

[Cockney Sparrow]

Very disappointed with the singing in the VW. It sounded like a wobbling competition.

Quite. I'm watching the TV broadcast, so the RVW is in progress.
I would say the singers are in the first or later part of their career. Meaning, not yet at the peak of their powers. I agree though, Allan Clayton has been a very fine vocalist from early days (his wild man of the woods presentation continues unabated BTW.).
I'm afraid the wide vibrato of the Soprano in particular cast a blight over the performance for me. I'll have to look out the Eva Turner recording from the time of the first performance as a corrective.

[jayne lee wilson]

On R3 AAC320, a few balance anomalies - level manipulation etc - and although this was better managed in the Poulenc (quite well played though, with delicate balances), the orchestra sounded a bit grey and distant....(and that throb in the voice was off-putting in the VW...)...

But these must be trying circumstances, with the orchestra still spaced out and a half-empty hall..... don't wish to be too harsh on a first night.

The Sibelius should be a better guide to all this.......hope the sound has more warmth and fullness.

[Bryn]

On R3 AAC320, a few balance anomalies - level manipulation etc - and although this was better managed in the Poulenc (quite well played though, with delicate balances), the orchestra sounded a bit grey and distant....(and that throb in the voice was off-putting in the VW...)...

But these must be trying circumstances, with the orchestra still spaced out and a half-empty hall..... don't wish to be too harsh on a first night.

The Sibelius should be a better guide to all this.......hope the sound has more warmth and fullness.

I look forward to listening to the 320kbs AAC-LC. What I got through BBC2 HD has soe nasty crackling going on, so I switched to standard definition's mp2.

[LMcD]

More gear changes than a very nervous learner driver - horrible - no grandeur, majesty or sense of space.

[Bryn]

More gear changes than a very nervous learner driver - horrible - no grandeur, majesty or sense of space.

Somewhat unconventional, perhaps, but informed by her interpretation of the circumstances of its composition. Grandure is, perhaps, not what she was seeking to evince. I'm loving the way she shapes it.

[bluestateprommer]

Just finished listening to the 2021 First Night. It was good. Not great, but in these times and given everything that has happened (and we're nowhere near out of the woods yet, especially on this side of the pond), good works. Perhaps in surprising hindsight, the orchestra and DS sounded the strongest at the start, with the RVW. The Poulenc was a treat, as it pretty much always is (even though I thought that I caught one missed chord in one fast passage, but never mind). The MacMillan work was OK, if obviously not a patch on the RVW. Nice to know that SJM was there in the RAH to take a bow.

Also kind of droll, if a jolt, to hear the "happy clappers" after the 1st movement of the Sibelius. They figured it out by the time of the end of the 2nd movement, though. With Dalia S., the "Sibelius problem" with Finnish conductors (i.e. every Finnish conductor gets asked to conduct Sibelius) has special resonance, since she is related to Sibelius by marriage, as her husband is Sibelius' great-grandson.

[Ein Heldenleben]

Somewhat unconventional, perhaps, but informed by her interpretation of the circumstances of its composition. Grandure is, perhaps, not what she was seeking to evince. I'm loving the way she shapes it.

Yes I’m with you - interesting that the final appearance of the great D major theme in the finale was played faster and with much less legato . I can we see why some might like the paragraphing she employed but I didn’t have a problem . Got the impression the orchestra enjoyed playing for her. It must be so weird though sitting so far apart from fellow section members.

[jonfan]

Loving the Sibelius, top drawer performance with nothing routine about it. Everyone relishing each bar, each phrase.
Sir James’ piece just right for the occasion, not a wasted note. In the TV doc what a ghastly batted out of tune piano he has! Obviously means a lot to him.

[Bryn]

Yes I’m with you - interesting that the final appearance of the great D major theme in the finale was played faster and with much less legato . I can we see why some might like the paragraphing she employed but I didn’t have a problem . Got the impression the orchestra enjoyed playing for her. It must be so weird though sitting so far apart from fellow section members.

Yes, a clarion call, rather than an expresssion of glory.

[Ein Heldenleben]

Yes, a clarion call, rather than an expresssion of glory.

Never heard it quite phrased that way - a description which fits quite a bit of the performance in fact . Very distinctive and unsentimental. I liked it .

[Prommer]

The Sibelius 2 was not an interpretation for the ages, but good to hear it sounding in the Hall.

[Lordgeous]

In the Sibelius I thought she, orchestra and performance fresh, exciting, moving, magnificent!