A splendid evening out for any Lord of the Ring lover, treated to a fantastic rendition of the film’s scores and an opportunity to jump back into one of the most famous fantasy series of all time.
Part of the renowned Royal Albert Hall’s Films in Concert series, the Royal Philharmonic Concert Orchestra brings the second instalment of the Lord of the Rings trilogy to delighted audiences in London this month.
The second chapter, The Two Towers, sees Middle-earth’s world darkened, cloaked beneath the advancing shadow of Mordor and the threat of the evil One Ring. Hammered at both sides by Sauron and Saruman the fellowship are split and have multiple challenges thrown at them at every turn.
The evening saw Academy Award-winning composer Howard Shore’s epic score performed live by the Royal Philharmonic Concert Orchestra, Philharmonia Chorus and soloist Kaitlyn Lusk. Lusk brought an awed silence throughout the hall whenever she stood up, the ethereal sound of the foreign language stunning everyone. There was a standout child singer in the chorus who rivalled Lusk’s incredible vocals and had the hairs on my arms standing to attention.
Lord of the Rings is loved by many and this series is an opportunity to enjoy this famous fantasy series in a new way once again. Not one to miss, and definitely one to book in for next year when they return with The Return of the King.
There’s nothing quite like Handel’s Messiah to truly usher in the Christmas Spirit.
Has Christmas really begun if you haven’t been blasted by Handel’s Christmas epic? Handel’s Messiah is a timeless masterpiece that has captivated audiences for centuries. The Royal Albert Hall is an iconic venue in London and the perfect setting for this grand oratorio, it is interesting to note that Messiah was originally composed for Easter. The Christmas classic actually has very little to do with Christmas at all. The story being told is in fact about Christ’s resurrection.
The performance was conducted by Eduardo Strausser and featured the Philharmonia Orchestra and Chorus, along with a talented cast of soloists. From the very first notes of the overture, it was clear that this was going to be a special evening. The orchestra and chorus were in top form, delivering a powerful and emotive performance.
The soloists also shone, with each bringing their own unique style and interpretation to their arias. Soprano Ella Taylor was a standout, delivering a soaring and expressive “I Know That My Redeemer Liveth”. Tenor Zwakele Tshabalala brought a sense of gravitas to “The Trumpet Shall Sound”, while bass William Thomas brought a sense of drama to “Why Do the Nations So Furiously Rage Together?”.
Naturally, one of the standout moments of the performance was the Hallelujah, which had the entire audience on their feet, singing along with the chorus. It was a truly moving and unforgettable moment, made all the more poignant by the Royal Albert Hall Looming above.
Overall, the performance of Handel’s Messiah at the Royal Albert Hall was a triumph. The combination of the venue, orchestra, chorus, and soloists created a magical and uplifting experience. If you have the opportunity to see this masterpiece performed live, do not miss it. It is an experience that will stay with you for a lifetime.
A stunning performance in a beautiful venue, which would be enhanced by further considering its accessibility to a wider audience and encouraging a diverse and representative membership.
The Royal Albert Hall is a beautiful venue that is awe inspiring even from the outside. This only increases as the audience ventures inside, greeted by gorgeous festive decorations and a sense of Christmas joy. The venue use sparkling lights and Christmas trees to create a warm atmosphere within the main hall, and the decorations perfectly frame the organist, choir and orchestra, drawing the audience’s attention and ensuring it remains throughout.
The large choir are poised and elegant. Dressed in all black with a red accent, their harmonies are stunning throughout, particularly the angelic descant performed by the soprano section. The repertoire includes a mixture of well known, traditional carols and less famous but equally beautiful numbers. Singing in multiple languages, including Swedish and Ukrainian, the choir demonstrate an impressive vocal ability and beautiful dynamics. One of the most beautiful performances of the night is the choir’s rendition of ‘Stille Nichte’, Silent Night in its original German, which they did with the lights off and each holding a candle. A truly mesmerising and emotional moment.
The Philharmonic Orchestra accompanied each number beautifully, displaying their musical prowess particularly during Tchaikovsky’s Sleeping Beauty which was a real standout moment after the interval. The orchestra’s rainbow of floor length gowns contrasted wonderfully with the choir’s black and white attire. The Christmas red worn by the Fanfare Trumpeters of the British Imperial Military Band allowed them to stand out as they performed their impressive fanfare alongside each descant and the national anthem.
Whilst the national anthem as the opening number was musically impressive, it definitely highlighted the demographic of the audience. Not a song often associated with the younger generation, the audience stand for the national anthem and whilst it isn’t required audience participation it could be an offputting start to the concert for those that don’t share monarchist views, although the talent of the performers is undeniable and impressive.
Interspersed throughout are fun carols which the audience join in singing; it’s a joyous opportunity to partake in some festive caroling, however, again is reliant on knowledge of the songs and willingness to interact and engage which isn’t for everyone at an orchestral choral concert. Personally, I loved this aspect and the opportunity to sing a traditional carol in the Royal Albert Hall with hundreds of other people alongside the Philharmonic orchestra and Royal Choral Society was incredibly special. The Conductor of the choir, Richard Cooke, keeps the audience engaged and interested throughout with witty and humorous anecdotes in between each number.
Juliet Stevenson’s heartfelt, poignant, and at times hilarious readings also allow the audience to enjoy two poems between performances. Again, whilst poetry might not be for everyone at a carol concert, it provides a lovely break for the musicians and is a nice contrasting performance. Louise Alder’s gorgeous soprano solos also provide a beautiful contrast to the choir’s pieces, and are an incredible display of classical musical solo performance.
It would be lovely to encourage and to see a more diverse audience at the Royal Albert Hall and Royal Choral Society events, something which could perhaps be supported by implementing young person tickets at a more accessible pricepoint as demonstrated so successfully by other venues such as the Almeida Theatre and the Donmar Warehouse. Similarly, the Royal Choral Society’s performances will be even more spectacular and engaging in the future if it is able to continue to evolve and represent a wider demographic. By further encouraging younger participants and performers of colour to get involved, The Royal Choral Society can continue to demonstrate their musical and choral prowess and celebrate their 150 year legacy, whilst also ensuring they represent, engage and inspire current and future choristers and music lovers of all backgrounds.
Christmas with The Royal Choral Society at the Royal Albert Hall is a truly magical evening, one that all fans of classical or choral music, Christmas carols, or the Royal Philharmonic will definitely enjoy! It would be great to see this spectacular event be enjoyed by a broader audience so that all can marvel at the wonder that is Christmas with the Royal Choral Society.
Cast and Creatives
Royal Choral Society Royal Philharmonic Orchestra Fanfare Trumpeters of the British Imperial Military Band Conductor Richard Cooke Organist Richard Pearce Soprano Louise Alder Reader Juliet Stevenson
A weird and wonderful night of Christmas jazz (ft. an actual proposal)
The words ‘Big Band’ are some of the most joyful in the English language. And yet, most memories of actual big band concerts tend to be disappointing: depressing school halls decked out in tinsel, trumpets that haven’t quite grasped the concept of tune, and a conductor whose hairline recedes further with every wrong note. Guy Barker’s Big Band Christmas, on the other hand, is exactly what it should be.
Well, maybe not exactly. Barker’s band is kookier than one might expect in a building as prestigious as the Royal Albert Hall. Guy Barker MBE is one of our foremost trumpet players (he backed up Wham!) and returns to RAH with his yearly festive concert, bringing an enormous band as well as a whole host of guests.
His band, a grand collection of strings, brass and wind, is exceptional. They blast out a variety of Barker’s alternative arrangements with bombast and precision, from a Jingle Bells that sounds like a Mario Kart theme to a seductive clarinet-led Winter Wonderland.
So watertight and well-drilled are his band, that Barker will sometimes take a break from conducting and dance around a little – and who can blame him? His job is done, he’s the under-11s football coach chatting up mums on the sideline as his team pump their twelfth goal past the opposition’s weeping keeper.
His guests are, for the most part, stellar. Clare Teal, our part-compêre, has a gorgeous voice that sounds straight out of 1940s America, her pearly tones make you want to sign up to fight at Pearl Harbour (compliment).
We also have Lance Ellington, most well-known for singing on Strictly Come Dancing. It’s great to see him in his element singing Louis Prima’s What Will Santa Claus Say? rather than being forced to sing Ed Sheeran every other week.
Barker fills the interludes with some sub-par audience work until something rather strange happens. He asks for quiet. Someone in the front row gets on one knee. Now we’re all cheering? And the bloke from Strictly is singing some Bublé?? It’s lovely and beautiful and romantic but…just…???? There are few things more charming than a proposal at Christmas but it does exemplify how the show can feel like whiplash.
There are a couple of awkward numbers: a man in a blue fedora comes on stage. He jigs. He sings the song ‘Boogie Santa’. He holds the mic out to us at the chorus. Nobody responds. We do not know the song ‘Boogie Santa’. He continues to jig. These numbers stand out only in comparison to the high quality that they sit beside.
Overall, Barker has all the detail that a great Big Band needs, but brings enough personality and weirdness to pique the interest throughout.
Wouldn’t Christmas be better if it was a little more queer? A Christmas Gaiety confirms that yes, yes it would.
Baby it’s cold outside, but you’re in for a warm welcome at the Royal Albert Hall this season – South Kensington’s esteemed institution has thrown open its doors for the glittering festive explosion that is A Christmas Gaiety.
Far from a silent night (or a particularly holy one for that matter), prepare for a variety show quite unlike any other: think kinky panto meets orchestral drag excellence, draped heavily in tinsel and delivered in time for Christmas by the seriously cheering Peaches Christ and Edwin Outwater. Edwin introduces himself as our ‘conductor, co-host and daddy’ for the evening, and Peaches arrives bedecked in enough sequins to put the cast of Saturday Night Fever to shame. She forgets her muff, apparently the butt of several opening jokes, but rides it out with aplomb – ‘Oh it’s hairy and it has fluffy balls, yada yada’ – as only a queen can.
As you may have gathered, a few of the performers have quite possibly made the naughty list this year, and theatre goers would do well to heed the show’s instructions to leave the kids at home. It is definitely the first time the Royal Albert Hall’s five thousand-strong audience members have obediently moaned in unison to the crack of a whip, following the appearance of Peaches’ scantily clad ‘sexy dom daddy’ assistant in riding boots and cap, complete with jockstrap, choker and all-important riding crop. There are a lot – and I mean A LOT – of christmassy innuendos in this show, and the tyranny of jokes on the theme of acclaimed organist Anna Lapwood’s ‘huge organ’ and the ‘size of her pipes’ threatened to overwhelm (Lapwood’s solo performance was, however, breathtaking, utilising all of the hall’s bells and whistles to showcase a dazzling festive medley). The London LGBT Fourth Choir’s saucy take on The Twelve Days of Christmas is more successful, gleefully belting ‘five c*ck rings…and a ticket to go see Kylie’ with the utmost grace and professionalism.
A doorbell rings to announce the arrival of each member of the star-studded line up, including the opera-singing, bearded drag icon Le Gateau Chocolat, RuPaul’s Drag Race UK contestants Cheddar Gorgeous and Pixie Polite, and Broadway and West End wonder Marisha Wallace. Le Gateau Chocolat’s gorgeous baritone rendition of Frozen’s Let It Go is a highlight, performed with a combination of expert comic timing and top-tier queeny irreverence. Peaches reappears at the opening of the second act in the sparkly pink ball gown of your fairy godmother dreams, having remembered her muff this time around, and is treated to a present by her guests – she is less than impressed with the British yuletide delicacy of mince pies, and someone in the front row receives a hastily re-gifted jar of jellied eels.
The BBC Concert Orchestra are clearly having as much fun as the queens (though the two are not mutually exclusive – a violinist made their drag debut as miss Violin Femme), with a trombonist sporting bouncy reindeer ears and a percussionist in full ‘gay penguin’ costume furiously going to town on the sleigh bells, those punishingly repetitive minims mined for comedy gold. It is majestically entertaining to watch a live orchestra of such a high standard, particularly one playing a yassified Jingle Bells.
I really cannot stress the sheer Christmassiness of this show enough. My companion had had a late night the night before, and already believes the holiday should be celebrated every other year at most. Towards the end, I looked over as Marisha blasted Mariah Carey’s All I Want For Christmas, each special guest returned to the stage and dancing away, the orchestra and speakers at full volume, every Christmas light in the house lit, twinkly snow visual effects galore, audience on their feet with their phone torches out, the penguin going nuts on the bells again. He slowly turned to me with a double thumbs up, a gritted smile and not a small amount of pain behind his eyes: ‘tis the season!’ he grimaced weakly.
Some of the American vs. British, lost-in-translation style jokes did grate a bit, and the humorous topical commentary felt pretty on the nose. However, Edwin, Peaches and co are nonetheless guaranteed to rock your Christmas socks off in bringing San Francisco’s hit seasonal spectacle to the famed Hall for the show’s London premiere performance. Marisha’s spectacular tribute of West Side Story’s ‘Somewhere’ to all chosen families hit an urgent note, acknowledging that for many, the holiday period is a difficult time of negotiating antagonistic family members, opposing political views and the rejection of one’s identity. In stark contrast, A Christmas Gaiety felt like a big queer Christmas party to which everyone is invited, allowing for all the glitzy indulgence of the season with none of the fallout. Pour yourself a tall glass of the holiday spirit (I’d opt for tequila) and get down to South Ken for a magical night of queer festive fun.
Breathing new life and excitement into the Harry Potter series, hearing the music life in accompaniment to the films is an experience not to forget quickly.
The Royal Philharmonic Concert Orchestra returns to the Royal Albert Hall with the sixth instalment of the Harry Potter Film Concert series. The conductor’s opening speech is met with cheers for the Gryffindors, Hufflepuffs and Ravenclaws and boos for the Slytherin (my cheers for my house were drowned out in hisses). The scene is set, we’re all Potterheads and we’re all here for the concert of the year.
The Friday performance was especially lucky to be blessed with (or perhaps we all took Felix Felicis) the attendance of the composer of this fantastic score, Nicholas Hooper. If this didn’t make the orchestra put their extra oomph into the music I don’t know what would have. Each note was hit with complete perfection and accompanied the film (only playing dialogue and sound effects in the background) perfectly. As my 8 year old cousin who served as my gallant date said ‘You forget they are there, but in the best way!’. And right he was, the orchestra blends into the background as we immerse ourselves in the dramatic plot and only every so often as you drag your eyes away from the screen do you remember this is all live and completely breathtaking.
The skill of the orchestra and accompanying choir is undeniable and nothing can beat hearing that iconic theme tune at the beginning live. Also several iconic tunes such as ‘Wizard Wheezes, the Weasley Stomp and Ron’s Victory’ were just uplifting in the Royal Albert Hall – the venue perfectly amplifying the music. If I didn’t think Hooper was a Weasley fan after hearing those three played live, and practically dedicated to the Weasley family, I couldn’t deny it now…
It was an absolutely spellbinding evening and a real treat to a lover of the Harry Potter series who is always looking for new ways to experience the world. I’ll be keeping a close eye out for their return with Part 1 and Part 2 of the Deathly Hallows.
This performance of the Fellowship of the Ring was part of the Royal Albert Halls “Film’s In Concert” series and if this instalment is anything to go by, the rest of the series will be absolutely amazing and a must see. Conducted by Ludwig Wicki with the Royal Philharmonic Concert Orchestra, joined by the Crouch End Festival Chorus, this performance is something that I will remember for a very long time.
Orchestra performances are not something that I would normally see, nor were they really something that I was particularly aware of.
My opinion of orchestra performances was that they were black tie affairs strictly for the upper echelons of society and were quite frankly, pretty boring affairs. That opinion has now been entirely turned on its head.
The score of the Lord of the Rings, to those in the know, is already very famous and well regarded. In fact, it won the Oscar for Best Original Score in 2002, so I perhaps shouldn’t have been surprised by how impressive it was. I’ve never really paid attention to film scores before, but when it is being performed live in front of you, its impossible not to have it grab you. This performance was an excellent introduction into both appreciating the scores of wildly popular and successful films, as well as experiencing the wonder of live orchestral performances. I assume the aim of these kind of events is to introduce new audiences to orchestral music, and if the standing ovation at the end of the night from the entire crowd is any indication, it was very successful.
A particular highlight of the night for me, was bizarrely the credits. The credits rolling is usually the most boring part of a film, but as there was nothing visually to keep you entertained, you really focused on the beautiful performance of “May It Be”. Originally written and performed by Enya, the vocalist on the night gave an absolutely faultless rendition which was captivating and quite possibly one of the best vocal performances I have ever seen live.
Special mention also has to be given to the children’s choir, who showed far more discipline and talent than I had at that age, or any age for that matter. The lead child vocalist also gave a very impressive performance both for his age and regardless of it.
The only slight negatives for the evening were some of the sound mixing being slightly off on the actual dialogue in the film, with some sections being too quiet to be heard clearly over the music. There was also some excessive echo at moments, presumably because of the venue, but this was only momentarily distracting.
This was a brilliant introduction to orchestral music performances for me, and I am now very keen to see future performances, both with and without a film playing at the same time. Upcoming performances in this series include Titanic, Harry Potter, and Star Wars, all of which I think would be well worth seeing, especially if you are already a fan of the films and want to take your enjoyment of them to the next level.
I can’t finish this review without mentioning the joy I felt during a certain meme-famous moment. As Boromir uttered the famous line “One does not simply walk into Mordor” at the council of Elrond, the entire audience started to laugh. Watching well loved and well meme’d films with an audience, is definitely a different and very much an enjoyable experience.
If you are a fan of any of the films still to be shown in the series, a fan of film scores, or a fan of orchestral performances, I cannot recommend seeing one of these performances enough.
