With 17 separate items, attending the Last Night of the Proms these days is a bit like shopping at Tesco. If you don’t like taramasalata, there’s always four varieties of houmous. Among the spiciest dips on Saturday was the glamorous Alison Balsom playing Haydn’s Trumpet Concerto with a beguiling soft-edged sound, then dazzling in Piazzolla’s Libertango. She could have stolen the show, but the mezzo-soprano Sarah Connolly pipped her by appearing in no fewer than four different guises (and costumes): regal in the Lament from Purcell’s Dido; darkly expressive in Mahler’s Lieder eines fahrenden Gesellen; smoochy-voiced in Gershwin; then magnificently decked out as Admiral Hornblower, or maybe Captain Pugwash, in Rule, Britannia!
Between all this came two joyous rarities — Oliver Knussen’s thrilling little Flourish with Fireworks and Villa-Lobos’ pulsating Chôros No 10, vibrantly hurled out by the BBC Symphony Orchestra and Chorus — and some funny nonentities, such as Ketèlbey’s maudlin 1915 hit In a Monastery Garden and Henry Wood’s hilariously overblown mistreatment of Purcell, New Suite. That wasn’t the evening’s most preposterous item.
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