Prom 42, Wednesday 21 August 2024
Beethoven’s Ninth by heart Jane Mitchell (Concept/Scriptwriter)
Ludwig van Beethoven Symphony no. 9 in D minor ‘Choral’ (performed from memory)
Rhiannon May, Tom Simper Actors
Masabane Cecilia Rangwanasha Soprano
Marta Fontanals-Simmons Mezzo-soprano
Brenden Gunnell Tenor
Christopher Purves Baritone
BBC Singers, National Youth Choir, Aurora Orchestra
Nicholas Collon Conductor
This is the third Aurora Prom I’ve had the privilege to attend, each progressively building upon
the success of the last. The first half was an exploration of the genesis and development of the
ninth symphony, set on a series of black boxes placed across the Albert Hall’s huge stage.
Using Beethoven’s notebooks as source material – a series of records of one-sided
conversations in the main, as the written word became the composer’s principal means of
communication as his deafness advanced – the dialogue, beautifully crafted into a coherent
narrative by scriptwriter Jane Mitchell, was expertly delivered by actors Tom Simper and
Rhiannon May (herself deaf) and both also using sign language. I particularly enjoyed the
juxtaposition of the composer’s craft with the daily mundane aspects of human life – Beethoven
struggling to find time for a much-needed haircut in the frantic days before the premiere for
example. This was interspersed by Nicholas Collon introducing sections of the orchestra playing
themes and melodies from the symphony in a way that was both detailed yet accessible –
perfectly pitched for a mixed audience.
After the interval came the symphony itself, entirely from memory, Aurora’s USP.
Unencumbered by stands or seats, the first movement zipped along with real vigour whilst the
second movement with its three- and four-bar phrases punctuated by timpani, here played with
very hard sticks, was delivered with such brio that at one point Collon was dancing on the podium.
The lyrical third movement with its decorated string passages building over a simple chorale-
type melody flowed and lilted as I’ve never heard it before, the players’ freedom of movement
translating into the playing.
I spent much of the first three movements wondering where the choir and soloists were: in the
fourth movement we were treated to music as theatre (distinctly different from musical theatre)
with the choir processing in seamlessly after the movement’s opening recapitulation of the
symphony’s earlier themes. Initially placed behind the orchestra the soloists later moved to
more traditional places at the front, whilst a particularly lovely touch was the entrance of
additional musicians for the military band section.
I cannot recall ever hearing Schiller’s words sung so clearly. And the infectious enthusiasm of the
performers and obvious joy in their acheivement was shared by the rapturous ovations of a
delighted audience.
The evening concluded with Aurora’s rather special approach to an encore, something I won’t
share here – instead, book yourself a ticket to next year’s Aurora Prom, if you possibly can.
