The London Proms 2010

For 100 years The Proms 2010 has been the best known season of classical music in the UK, starting the popular season in July and ending in September. A varied but accessible programme regularly draws huge audiences to the Hyde Park in Kensington, London.

The aim of The Proms has been to mix the popular and familiar with the innovative and fresh and those who love classics and expect to hear some favourite piece might be surprised to discover a new composer.

The Proms '10 at the Hyde Park in London are affordable to anyone. With standing ticket for each Proms concert costing only five pounds, the event is a bargain considering its top international orchestras and soloists. Each Proms concert is an opportunity for the audience to indulge in a real sense of fun for very much less than the price of a cinema ticket.

The Proms in London also includes a series of chamber music concerts at Cadogan Hall along with outdoor events across the country. You are best advised to arrive early to queue for tickets for the biggest stars and be prepared to queue overnight for entrance to the Last Night of the Proms.

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Proms at the Albert Hall/ BBC TV/ Radio 3

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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last night of proms latest updates

In the early days of the Twinning Association's existence it was clear that a major fund raising event would need to be arranged, ideally one which could be run on an annual basis. As the Association had developed from the Town Council (link to history page) a couple of former Town Councillors, Len Wilkes and Tom Bickley, together with the then Town Clerk, Mike Wilson, approached the Ransome Band to investigate the possibility of a joint event. The end result of their discussions was the "Last Night of the Proms". The inaugural event was held in the Sconce Hills School Hall in 1984 and so was born one of the most popular concerts in Newark’s musical calendar. 

  

It wasn’t long before the success of the "Last Night of the Proms" meant that the school hall was no longer a suitable venue. The only real choice for a larger venue was the Palace Theatre and the concert has been held there ever since. 

  

Experiments have been undertaken with the format. To satisfy demand for tickets a second night was added but after several years the Friday evening was dropped in favour of a Saturday matinee. Unfortunately, this was not a successful move and the 2008 event reverted to two nights. 

  

The Ransome Band, who have changed their sponsors and, therefore, name several times over the period of our partnership have always played a big part in each years concert. However, there has always been variety in the rest of the programme – male voice choirs, solo singers, double acts, school choirs, the Newark Amateur Operatic Society and even a World Champion whistler have all featured over the years.

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last night of the proms tickets 2010

Some of the audience wear patriotic T-shirts, others dinner jackets. Union Jacks are waved during Rule Britannia.

Seats for the final night sell out quickly; to get a Last Night of the Proms ticket one must also attend several other Proms in the season. Prom tickets are no more expensive for the Last Night than for other concerts, but many promenaders queue overnight and all day to get a good space.

To accommodate some of the many people who can't get a ticket, a Proms in the Park concert is held in Hyde Park opposite the Royal Albert Hall, the Proms' main venue. A live big-screen links up with the hall for the finale and people usually get into the spirit outside too.

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How the last Night of Proms has been hijacked

Accessible, that is, except on one evening. Newspapers last weekend carried an advert from an agency called Sports Exclusive. It offered tickets to the Last Night of the Proms. Televised live to 40 million people worldwide, and enjoyed in the Royal Albert Hall by Prommers who, in many cases, will sleep on the pavements to secure the best spots in the arena, the Last Night is the most famous event in the music calendar. Tickets are like gold-dust. The BBC, which runs the Proms, could probably sell out the hall ten times over.

Sports Exclusive seems to recognise that, to judge from its prices. Recession? What recession? Stalls seats (face value £82.50) are offered for £995. But if you want to sit with nine chums in a grand tier box, the show will cost you £14,995. Mind you, that does include “a three-course supper and wine with your own box waitress”. (Gosh, I hope she’s fresh. How long do they keep her in the box?) What sort of people, in the present climate, can splash out the equivalent of a year’s wage for a supermarket worker on ten concert tickets? It’s a fascinating question, but not half as fascinating as the question of where the tickets come from.

Not the BBC, that’s for sure. The Proms brochure details the elaborate procedures by which the BBC tries to ensure that ordinary music-lovers, rather than fat cats, fill the hall at the Last Night. One way is to buy a season ticket and stand in the arena through the whole summer of concerts — all 76 of them. The second is to buy seats for no fewer than five other Proms. Even then you aren’t guaranteed a Last Night ticket, and you can’t return the other tickets if you don’t get one. And the third way is to enter the Last Night ballot, by which 100 tickets are allocated. But thousands of people go in for that.

The answer is that the Albert Hall ain’t what it seems. Its management has projected a cosy image of it as “the nation’s village hall”: a revered arena that happily houses everything from boxing to ballet to the Royal British Legion Festival of Remembrance. But this masks an awkward truth. Many of its boxes and hundreds of seats (perhaps a fifth of its seating capacity) are permanently owned by individuals or companies. When the hall was opened in 1871 its seats were flogged off on 999-year leases called debentures. Some are still owned by the same families; others have been sold on. Last year a grand tier box was put up for sale at £1.2 million. It’s big business. And the reason is obvious. Owners can cash in handsomely on events such as the Last Night by flogging their seats.

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Superb technique in masterclass(2008)

Many music-lovers like to list Brahms's four symphonies in order of preference, and Shostakovich was no exception.
His favourite was No 4, followed by Nos 2 and 1, with the Third lagging well behind.
So there was a touch of irony in the fact that this was the one chosen as a companion piece to his own Tenth Symphony in last night's concert by the Berlin Philharmonic under Sir Simon Rattle.
Quite what made Brahms's Third only a runner-up in Shostakovich's eyes is not specified, any more than I can articulate with convincing logic why my own ordering would, on most days, be Nos 2, 3, 4 and 1 and, on others, a different sequence altogether, but maybe the nature of the interpretation has much to do with it.
For the most part, Rattle's was strong enough to convert even the most hardened sceptic, but there were also aspects that might have sown doubt in confirmed believers.
Bolstered by the Berliners' superb technique and sonority, the overall impression was of opulence fortified by a resonant bass line, firm sinew in the outer movements and terrific clarity of detail. Lyrical lines were liquidly shaped, and the two central movements, even though they were inadequately differentiated in tempo, were impressive for some exquisite, hushed playing.
the music's emotional thrust was of uncommon power, whether in the ruminative resignation of the first movement or in the scherzo's visceral, menacing energy.

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last night of the proms reviews

The newest music on offer in the Last Night was the opening scene from Thomas Adès’s 2004 opera, The Tempest, a wonderful, rollicking sea-storm of an overture, its dark waves and undertow magnificently recreated by the BBC Symphony Orchestra conducted by JirÍ Belohlávek.

So, how would the Prommers take to their new maestro? This was Belohlávek’s first Last Night, and it was hardly a baptism by fire. He signed in with the Othello overture by his Czech compatriot, Dvorák. And then he reminded us that The Entry of the Gladiators, that audacious march with which clowns roll and tumble into the big top, was actually written by a pupil of Dvorák, Julius FucÍk. As it raced along, the Prommers at last started bobbing up and down, as an airborne parrot levitated towards the dome, and Belohlávek called for three cheers for Sir Malcolm Sargent.

The warm and decorous cries of “Hip, hip hooray!” epitomised the unusually gentle, olde-worlde, home-sweet-homeliness of this Last Night. The Prommers didn’t bait Belohlávek, and he didn’t bait them. His speech was a disarmingly diffident and dignified eulogy of the Prommers own “profound and passionate love for this wonderful event”, garnished with gentlemanly greetings to those cities linked by big screen to the Albert Hall. These links provided one of the evening’s real coups: the echoing responses from buglers far and wide to the bugle calls at the start of Henry Wood’s Fantasia on British Sea-Songs. And – to reassure everyone that this really was a party - the soprano Anna Netrebko, who had held a hushed auditorium in the palm of her hand for the closing scene from Bellini’s La Sonnambula, sang, danced, and scattered red roses throughout her aria Meine Lippen sie küssen so heiss from Léhar’s Giuditta.

And, of course, Elgar. Not only Pomp and Circumstance, but a moving vignette from the First World War, in the first Proms performance of The Fourth of August from The Spirit of England, magnificently sung by the tenor Andrew Kennedy with the BBC Symphony Chorus.

The event takes place annually throughout August, as part of the wider Edinburgh Festival.For Edinburgh Military Tattoo tickets, sports tickets, opera-ballet tickets, concert tickets, theatre tickets and exclusive event tickets in the UK and worldwide. Premier Events pledges to provide the cheapest event tickets on the net.No commission, transaction charges or hidden booking fees. By law, we must charge VAT, but the price you see is the price you pay.we ensure their safe and prompt delivery to our customer.Buy Edinburgh Military Tattoo tickets for 2010 with full trust!