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!

Blue Peter presenters perform at the Proms

Blue Peter presenters Simon Thomas and Liz Barker will take to the stage at the Royal Albert Hall when they perform at the 2004 Blue Peter Prom.

Always ready for a challenge, Simon will play the flute with the orchestra to Tchaikovsky and Liz will participate in the flamboyant Lion Dance.

Because of the huge demand for tickets in previous years the BBC Proms stages the Blue Peter Prom twice this year, allowing double the number of children and their families to join the fun.

The Blue Peter Prom conjures up the spectacular sights and sounds of the Far East.

Two special groups of performers join the Blue Peter presenters and the BBC Philharmonic for an exotic and colourful programme inspired by the season's East/West theme.

The big Japanese drums of Kagemusha Taiko and the traditional Chinese costumes of the Choy Lee Fut Kung Fu School Lion Dance troupe will be seen at the Proms for the first time.

The Royal Albert Hall's organ makes an appearance with Strauss's Also sprach Zarathustra (the theme from 2001: A Space Odyssey) and there's orchestral music by Tchaikovsky, Ravel and Stravinsky.

The concert also includes music from Harry Potter, and everyone can join in with the orchestra and the City of Birmingham Youth Chorus in a taste of the familiar festivities of the Last Night of the Proms, by singing Land of Hope and Glory.

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Blue Peter Proms

After seven years, the formula for the Blue Peter Prom is well established. Parents can expect orchestral showpieces, audience participation, film music, presenters having a go (last year conducting, this year playing the flute), and some wild guest spots. It's no mean feat to make small children feel comfortable in the overwhelming Albert Hall, but the real challenge is to keep their attention. Presenters Liz Barker and Simon Thomas joined in heroically, but nothing they said made my young friends listen.

Still, this was a pretty good year. The wild guests delivered handsomely: the whole hall gasped as the Chinese lion costumes of the Choy Lee Fut Kung Fu School charged down the aisles. And no one could resist 14-year-old Oliver Kirby, youngest member of Exeter's Kagemusha Taiko troupe, drumming with all his might.

The orchestral selection was a mixed success. Six-year-old Josh liked the Firebird and the Nutcracker, but switched off completely for John Adams' Short Ride in a Fast Machine. The audience participation was a bit limp, and in the case of finger-clicking, too difficult for small hands. The sure-fire winner was Ravel's Bolero, in which the BBC Philharmonic got to use their clowning skills. Starting with an almost empty stage, they appeared one by one from all over the hall, each with a different reason for being late. Audience heads started turning. If you watched violinist Nigel Jay fishing by the organ and catching a giant rabbit, you might have missed cellist Rebecca Aldersea wielding her broom around the double bass section.

Creativity is not in short supply at the BBC Philharmonic; double bassist Peter Willmott's orchestration of a Japanese folk song brought the hall to rapt attention. In fact, the creative potential of the orchestra came across as the most fertile field of the show, able to keep the audience's attention much better than the Blue Peter script. One thing you can't fault about the formula: they chose the right orchestra.

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Last Night of the Proms 2010 tickets

 The world famous Last Night of the Proms at the Royal Albert Hall brings the terrific summer season of The Proms to a fitting finale. Described by conductor Jiri Belohlavek as "the world's largest and most democratic musical festival", last year's event saw the total number of concerts reach 100 for the first time. The Last Night is traditionally very different from the eight weeks that precede it, following a lighter, 'winding-down' vein and often pandering to popular classics and Patriotic Anthems (Rule, Britannia!, anyone?). Tickets are almost as hard to come by as Centre Court passes for the Wimbledon finals, but like the tennis, the whole thing is broadcast live on the BBC - and all round the world.

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