Mozart Requiem trumps the War of the Romantics for energy and drama - BBC Prom 26

Natalie Stutzmann, BBC NOW
© Chris Christodoulou

Fatma Said (soprano)
Kathryn Rudge (mezzo-soprano)
Sunnyboy Dladla (tenor)
David Shipley (bass)

BBC National Orchestra of Wales
BBC National Chorus of Wales
Natalie Stutzmann (conductor)







Wednesday 7 August 2019, 7pm

BBC Prom 26

Royal Albert Hall, London

★★★

Johannes Brahms (1833-1897): Tragic Overture, Op. 81

Richard Wagner (1813-1883): Tristan und Isolde, Prelude & Liebestod (orchestral version)

Wolfgang Amadeus Mozart (1756-1791), compl. Franz Xaver Süssmayr (1766-1803) and others: Requiem in D minor, K626

Fatma Said, Kathryn Rudge, Sunnyboy Dladla,
David Shipley, BBC National Chorus of Wales
© Chris Christodoulou 

Brahms/Wagner:
'Stutzmann’s approach highlighted (the) differences, with a strong sense of control in the Brahms, and a slow build to a very expansive climax in the Wagner'.

Mozart:
'The absolute star by far of the evening, however, was the BBC National Chorus of Wales (five stars for them!)'.

BBC National Chorus of Wales:
'They performed with conviction, impeccable tuning and precision throughout'.

'The chorus impressed with their stamina and full-on energy to the final chord'.

Read my full review on Bachtrack here.

Four centuries of British music from Ryan Wigglesworth and the BBC NOW - Prom 32

© Benjamin Ealovega

BBC Prom 32

Leonard Elschenbroich (cello)

Toby Spence (tenor)

Nicholas Perfect (bass)

BBC National Chorus of Wales

BBC National Orchestra of Wales

Ryan Wigglesworth (conductor)

Wednesday 9 August, 2017

Royal Albert Hall, London

★★★

Britten: Ballad of Heroes, Op. 14

Brian Elias: Cello Concerto

Purcell, arr. Elgar: 'Jehovah, quam multi sunt hostes mei'

Elgar: Variations on an Original Theme ('Enigma'), Op. 36

Britten:

'The largely unison text was delivered with powerful clarity by the BBC National Chorus of Wales'.

'Toby Spence delivered the final movement’s recitative with great presence, and impressive precision in Britten’s challenging, leaping lines'.

Elias: 

'Elschenbroich took the opportunity to allow the cello to sing'.

Elgar:

'Wigglesworth’s reading here lifted proceedings, and in particular, the pianissimo playing he demanded of the orchestra was most effective'.

Read my full review on Bachtrack here.