Photo, Chris Christodoulou
Sunday, July 20, 2025
Royal Albert Hall, London
If a pianist is to have only one hand, then make it the left. Nicholas McCarthy is so-favoured, from birth (1989), able to play Ravel’s masterpiece (and concertante works by Britten, Korngold and Prokofiev, all for Wittgenstein, as well as numerous without-orchestra scores). The Ravel was not as dark and explosive as it can be, sometimes suggesting fallible ensemble, but hats off to McCarthy for his confidence and musical enquiry, the BSO not enough in the aural picture as broadcast, lacking body, somewhat desiccated. McCarthy’s memorable encore was Scriabin’s Nocturne (Opus 9/2), delicately shaded, with echoes of Chopin and suggestions of well-known Paderewski (in F).
Walton’s First Symphony was also compromised by limited sound, microphones sometimes shying away from the fiercest fortissimos, timpani distant and muddy, yet it was obvious that the BSO members and Mark Wigglesworth have formed a good relationship, the Symphony’s outer movements powerfully built, and if the (well-drilled) second movement was Presto enough if a little stingy with the malizia then the melancholy third certainly caught the mood. The Finale’s rhythmic definition survived the quick pace, although in the build-up to the percussion entrance the piccolo was rather buried, yet the ‘last post’ trumpet solo was sensitively turned.
Courtesy of Lev Atovmyan, Suite for Variety Orchestra (aka Jazz Suite No.2), compiled from film and theatre music by Shostakovich, made for an enjoyable entree – tuneful, flippant, marching, waltzing, sentimental, cheeky, carefree, cartoony – with each of the eight morsels played in the groove.
I suppose we have to accept that Proms audiences will clap everything (even while the music is sounding), and that some R3 presenters will bang out the “home of” cliche relentlessly no matter how pointless and irritating.
I was in the £11 restricted view seats but right over the orchestra and even in the hall I felt a lack of real ff dynamics. Clapping in the Shostakovich was just acceptable but after the Walton slow movement it was just ridiculous. Though, to be fair, when the late Sir Roger encouraged it by swivelling round at the end of the first movement of Elgar One (Paris) I was happy to go along with his wishes. At least it was good to see a virtual sell-out (empty debenture seats remain an anachronism) for Walton 1. Thank you for covering lots of Proms for us Colin, greatly welcome.
I was in the orchestra seats on the left. Not bothered about the the audience participation these days but the American lady behind me was wearing so much heavy jewellery she should have been in the percussion section.
I went largley for the Walton. Wrigglesworth couldn’t seem to find the impetus this work needs, particularly in the final movement. It was a hobbled performance….you should reach the end with a sense of rapturous exhauxstion rather than mild satisfaction.