Debbie Gilpin - Page 7

The Boston Symphony Orchestra’s second outing at this year’s Proms celebrated the magic of movement, with varying degrees of dance in pieces by Stravinsky, Ravel, Gershwin, and a European première from Carlos Simon. Their programme took the audience back in time, beginning in the 2020s and ending in the 1910s; a century of music with a whole host of inspirations.

What was it about 1973? Already this year there have been events celebrating the 50th anniversaries of classic albums such as David Bowie’s Aladdin Sane, Pink Floyd’s The Dark Side of the Moon, and countless others – then last night at the Royal Albert Hall, the Jules Buckley Orchestra added to that list with their own tribute to Stevie Wonder’s Innervisions. The orchestra was joined throughout by multi-instrumentalist Cory Henry and Vula’s Chorale, as well as some extra special guests.

The power and majesty of the orchestra was at the heart of this Prom, with a well put-together programme that included the European première of a BBC co-commission and two early twentieth century compositions from two of Russia’s most famous musical sons. It also felt quite story-driven across the board, though significantly so in the headline piece.

After the BBC National Orchestra of Wales’ performance of Beethoven’s theatrical fifth symphony last week, the City of Birmingham Symphony Orchestra upped the ante by taking on Carl Orff’s cantata - which features another of classical music’s most iconic introductions.

“The Enigma I will not explain – its 'dark saying' must be left unguessed... further, through and over the whole set another and larger theme 'goes', but is not played.' Prom 14 turned out to be something of an enigmatic night across the board, with the listener left to interpret or speculate about the greater meaning of the work, and transported to magical planes via Beethoven’s Piano Concert No. 3 in C minor, Noriko Koide’s Swaddling Silk and Gossamer Rain, and Elgar’s ‘Enigma’ Variations.

William Shakespeare famously wrote extensively about places which he had never visited, so why shouldn’t composers do the same? Of the four pieces performed in this Spain-themed Prom, only one of the composers was Spanish - the rest were French, and at least one of them (namely Claude Debussy) had to rely on accounts of Spain from native dancers, artists, and musicians, as he had never set foot in the country.

Works by “the old Ludwig van” – as A Clockwork Orange’s Alex would say – remain popular as part of the BBC Proms series, with this performance of his fifth symphony the second of eight Beethoven compositions on the programme this year – and this is probably the most famous of the lot. It was preceded by renditions of Sergey Rachmaninov’s Five Études-tableaux (making its Proms debut) and Samuel Coleridge-Taylor’s Violin Concerto in G minor.

It’s the obvious legend to draw upon in our current age of police brutality, austerity, and the withdrawal of the right to protest - and when you have a stage surrounded by an almost-forest, it should be the perfect fit. This summer at Regent’s Park Open Air Theatre, Carl Grose turns his attention to the retelling of Robin Hood, promising a hero unlike those you’ll have previously seen on the small and silver screen.

“You’re going out a youngster, but you’ve got to come back a star!” Ever since the pandemic forced theatres to close, then threw their return into jeopardy as actor after actor tested positive for COVID, and performances were either cancelled or more cover than normal was called on at short notice, the importance of the understudy has been back at the forefront of theatregoers’ minds. This is one very good reason for a new production to be mounted, just four years after the Theatre Royal Drury Lane version closed its doors.

“To say the truth, reason and love keep little company together nowadays.” It appears that the Globe has a fondness for dreaming, as Shakespeare’s most performed play is back in the outdoor space for the third time in Michelle Terry’s tenure as Artistic Director.

“I am determined to prove a villain, and hate the idle pleasures of these days.” There is no pretence between Richard III and his audience; he sets out his manifesto from the very beginning of the play, and we are left to watch in horror as he sees it through – deed by bloody deed.

“I shall gain me glory, or grim-death shall take me”, says the titular hero in the thousand-year-old epic poem. Last night, however, it was the turn of composer Iain Bell to seek a different kind of glory as his new adaptation of Beowulf (commissioned by the BBC) made its world première at Barbican Hall. Conducting the BBC Symphony Orchestra and Chorus was Martyn Brabbins, and they were joined by actor Ruth Wilson as narrator, and tenor Charles Styles (standing in for Stuart Skelton at short notice).

The trend for stage adaptations of already popular material shows no sign of relenting, as a musical version of everyone’s favourite autumn comfort watching comes to the West End. It transfers following a successful run at the Cheltenham Everyman last summer, and stars Haydn Gwynne and John Owen-Jones as judges Pam Lee and Phil Hollinghurst (although we know who they’re really supposed to be). Welcome to The Great British Bake Off Musical!

“A sad tale’s best for winter.” There may be moments of poignancy and outright tragedy in this late Shakespeare play, but Sean Holmes’ vibrant production ensures that the audience is given more than their fair share of comedy and levity throughout.

“The dead are alive.” Even the film’s title is redolent of a haunting presence - although hardened Bond fans will know the true significance of this word.

For music lovers, it’s the anniversary album-in-full gigs. For bookworms, it’s the sneaky extra chapter in the paperback edition. And for cinephiles, it’s the film in concert series.

This two-man show explores what it’s like for a gay Muslim, who’s also dealing with the expectations of his Pakistani family and the wider community; it also investigates the continued threat of the UK’s ‘hostile environment’ – a deadly game of chance for many at-risk individuals.

A few years ago, the concept of a scientist selling out arenas across the world simply wouldn’t compute, but the Professor Brian Cox Effect continues to work its magic. He and Robin Ince are back with a brand new tour that seeks to answer the following question: “What does it mean to live a small, finite life in an infinite, eternal Universe?” Over the course of a couple of hours, the audience is taken on a whistlestop tour of cutting-edge physics, exploring the observable universe and attempting to make sense of black holes with the assistance of a stunning array of images.

The BBC’s very first Earth Prom celebrates all aspects of the BBC Studios Natural History Unit, combining beautiful music with stunning videos to great effect in a packed Royal Albert Hall.

The story of the Gunpowder Plot still resonates 400 years on, whether you’re a Catholic trying to navigate certain aspects of life in the UK, or if you consider the ever-present religious intolerance of various kind.