Royal Albert Hall, London – 11th August 2026
Reviewed by Celia Armand Smith
4****
The BBC Proms are such a special thing, but there is something about the Late Night Proms that feels extra exciting. Crowds of people heading into the Royal Albert Hall at 10:15 on a Tuesday Night buzzing with excitement. The programme for the evening featured 7 living composers and 2 living arrangers, and included a Tam-Tam solo and a beautiful excerpt from Morton Feldman’s Rothko Chapel. Conductor Tom Fetherstonhaugh guides us through the theme of “Listening” which may sound obvious for a Prom however we are taken on an unconventional mixtape adventure of sounds, music and movement.
Percussionist Evelyn Glennie and the Fantasia Orchestra are joined by the always amazing BBC Singers. John Coltrane’s Welcome kicks off proceedings followed by an upbeat and jazzy It Don’t Mean a Thing by Duke Ellington. Then it’s the turn of Héloïse Werner and a new piece called The Wood Pigeon commissioned by the BBC – a performance within a performance featuring Werner’s voice as if she was giving feedback at a rehearsal. I found this piece hardest to get on with but it was charming and different, and did in fact make you listen. It is then the turn of the Tam-Tam solo played by Evelyn Glennie. An unexpected and frankly gorgeous work of rattles, taps, and vibrations by Vincent Ho.
A beautifully intense excerpt from Morton Feldman’s otherworldly Rothko Chapel and a compelling acapella piece called Partita by Caroline Shaw sung by the BBC singers create an otherworldliness that is in contrast to the more classic Dvořák and Vaughan Williams that followed. What it demonstrated was the incredible range of the Fantasia Orchestra and the BBC Singers.
Surprisingly one of my favourite moments of the night was the rhythmic and melodic handpan piece by Evelyn Glennie called Orologeria aureola created with Philip Sheppard. Followed by an elegant and mesmerising arrangement Radiohead’s Pyramid Song and then finally Panda Chant II by Meredith Monk. The orchestra, the BSL interpreter, the singers and Evelyn Glennie were on their feet chanting and using their bodies for sound and movement to great effect. Special mention should go to BSL signer Sean Chandler who added another dimension to this listening project with his characterful and joyous interpretation of the music.
If listening is what they wanted, listening is what they got. Every piece was a surprise and each whimsical direction and decision was a delight and it is always so special to see and hear Evelyn Glennie perform. A peculiar and wonderful way to spend an evening.
Available to listen again on BBC Sounds.