A charming new direction for the Proms
The Royal Albert Hall hosted an unforgettable Prom 15, featuring an enthralling performance by the BBC Philharmonic under the baton of Nicholas Collon. The evening was marked by the world premiere of Anna Clyne’s ‘The Gorgeous Nothings’ and a masterful rendition of Olivier Messiaen’s ‘Turangalîla-Symphonie’.
Clyne’s ‘The Gorgeous Nothings’ offered a fresh, evocative setting of Emily Dickinson’s “envelope poems.” This work, co-commissioned by the BBC and The Swingles, showcased an innovative blend of vocal and instrumental textures. The Swingles, renowned for their tight harmonies, delivered a performance that beautifully captured the delicate balance between fragility and strength inherent in Dickinson’s fragmented verses. The use of an “Augmented Orchestra,” with sounds electronically manipulated in real-time by sound designer Jody Elff, added a layer of ethereal atmosphere. The result was a soundscape that felt both intimate and expansive, with fleeting moments of magic. The prologue set the tone with a childlike soprano solo that grew into a rich tapestry of sound, while the epilogue brought the piece full circle. However, one couldn’t help but feel that some of the electronic enhancements, particularly in such a grand venue, were overshadowed by the presence of the venue’s own massive organ.
After a charming encore of Bulgarian folk songs by The Swingles, the stage was set for Messiaen’s monumental ‘Turangalîla-Symphonie’. This sprawling work, with its intricate blend of cyclical themes and lush orchestration, is a towering expression of love and spirituality. The performance was a tour de force, with Steven Osborne on piano and Cynthia Millar on the ondes Martenot delivering standout performances. Osborne’s virtuosity was evident in the dazzling piano passages, while Millar’s handling of the ondes Martenot added an otherworldly dimension to the soundscape. The inclusion of the celesta and keyboard glockenspiel, played by Ian Buckle and Paul James respectively, evoked the gamelan influences that Messiaen so admired.
Collon’s interpretation was intense and dynamic, navigating the symphony’s complex emotional terrain with precision. While the relentless energy occasionally risked overwhelming the structure, Collon skilfully maintained a sense of direction, ensuring that the climactic moments felt earned rather than excessive. The sixth movement, ‘Jardin du sommeil d’amour’, was particularly memorable, with Osborne’s lyrical playing providing a moment of respite amidst the symphony’s grandiosity.
Prom 15 was a night of contrasts and complementarities. The delicate beauty of Clyne’s work provided a perfect prelude to the overwhelming power of Messiaen’s symphony. The BBC Philharmonic, under Collon’s assured direction, delivered performances that were both technically impressive and emotionally resonant.