BBC Prom – Beethoven Symphony No 9

Royal Albert Hall

Kensington Gore, London SW7 2AP 0845 401 5045

Sunday 19th July, 7.30pm

Price: £9.50 – £46
Andris Nelsons Marco Borggreve057.



  • Beethoven Overture: The Creatures of Prometheus, 5′
  • Woolrich Falling Down (London premiere) , 15′
  • Beethoven Symphony No. 9 in D minor, ‘Choral, 67′


Due to personal circumstances, Dmytro Popov has sadly had to withdraw from this concert. We are grateful to Pavel Cernoch for taking his place at short notice.

Beethoven’s ‘Choral’ Symphony is a celebration of human endeavour, as is his ballet score The Creatures of Prometheus. This is Latvian Andris Nelsons’ final concert with the CBSO as Music Director. John Woolrich’s dark, sardonic contra-bassoon concerto was written for the CBSO’s own contra-bassoonist Margaret Cookhorn.

This concert will be broadcast live on BBC Radio 3

Available on iPlayer here – until 18th August 2015

CBSO Storify here

Chorus Soprano Eluned Mansell writes about performing Beethoven’s Ninth Symphony at the BBC Proms with the CBSO”


Review by Andrew Clements, Guardian:

Click here for full review

…     “Nelsons’ performance, though – echoing the one he gave last autumn as part of his complete Beethoven cycle in Birmingham’s Symphony Hall – would have been blazingly memorable whenever and wherever it had taken place. There were all the hallmarks that have become so recognisable over the seven seasons he has been in Birmingham, especially the meticulous attention to detail and the knack of making it all seem utterly fresh, combined with an unwavering certainty about what the music’s ultimate destination is. The dynamic range of this performance was huge – the pianissimos intense, the fortissimos immense – whether in the first stirrings of the opening movement, the furious rush of the scherzo or the careful building of the finale, layer by layer, towards its huge choral affirmation, in which Nelsons’ gestures seemed to invite the whole Albert Hall into celebrating along with the CBSO Chorus and soloists Lucy Crowe, Gerhild Romberger, Pavel Černoch and Kostas Smoriginas.”     …



Review by Richard Bratby, Birmingham Post:

Click here for full review

…     “At first, it felt understated; but as Nelsons let inner voices sing out, and gave space for the woodwinds and horns to be their gloriously musical selves (has Marie-Christine Zupancic’s flute ever sounded more sweetly, poignantly expressive?), you began to sense a massive, tidal undercurrent of symphonic movement. By the time the CBSO Chorus was blazing with white-hot fervour through Beethoven’s final chorus, the build-up of emotion was almost unbearable. With its glowing sound, cosmic vision and quiet, piercing moments of both pain and joy, it’s tempting to say that this felt like a Ninth filtered through Parsifal – “made wise through compassion”. It certainly proved just how far Nelsons and the CBSO have come together since 2007, and how all the energy, spontaneity, and mutual affection that this orchestra and conductor have shared since day one – and which was pouring off the stage tonight – has matured into a great artistic partnership, cut heartbreakingly short.”


Blog post by Richard Bratby:

Click here for full blog

…     “It was one of those occasions where personal emotion takes precedence over critical detachment – something you’ll only really understand if you’ve been in Birmingham for the last 8 years. I’m not a fan of Beethoven’s Ninth: last night, though, I heard it say something new, surprising and very moving. There’s absolutely no sense that the CBSO / Nelsons relationship has run its natural course – I’ve never seen an orchestra and conductor have so lengthy a honeymoon, and last night’s performance made it sound as if the relationship is only now reaching its artistic peak. The loss of Nelsons is bitterly felt in Birmingham. It’s untimely, to say the least, which made last night a doubly poignant occasion.”


Review by Sebastian Scotney, ArtsDesk:

Click here for full review

…     “The virtues of Nelsons’s way with Beethoven had been there from the very start of the concert, with the short, early overture to the ballet The Creatures of Prometheus. He took it, on this occasion, surprisingly fast. It had humour, sparkle and charm, and made the very most of the contrasts of loud and soft. Nelsons has a way of crouching and reining himself in, of making himself almost invisible in quieter passages, and then presenting audience and orchestra with a far taller and more imposing version of himself when the volume and intensity are higher. The Prometheus overture was just a small-scale foretaste of what would be offered with Beethoven’s Ninth Symphony. The performance of this infinitely complex work seemed to evolve naturally and organically. In the first movement the build-ups from very quiet to very loud were organic, accretive, totally convincing, the sense of landing harmonically always just right. In the second movement Nelsons’s gestures were a delight. Phrases in the minuet seemed to be treated as people, they were welcomed into the room, and waved goodbye. The trio section was expansive, free with tempo, giving soloists – particularly first horn Elspeth Dutch – opportunities to shine. The string section playing in the third movement was delightful, and this was an occasion when the whole movement cohered with nothing wasted.

The final movement with lower strings flawlessly energetic, and later with soloists (Lucy Crowe, Gerhild Romberger and Pavel Černoch Kostas Smoriginas, pictured right) and chorus in fine balance, again showed the strengths of Nelsons’s approach. He knows precisely how to get the best out of an English amateur chorus, by extracting each and every syllable from their mouths. They even got a jokey visual aid for the word “Götterfunken”. The first involvement of the solo quartet, placed in the chorus at the back of the stage, prompted the only brief moment of tempo-uncertainty of the whole symphony.”     …


Review by Ivan Hewett, Telegraph:

Click here for full review

…     “Then we arrived at the peak itself, Beethoven’s Ninth. In recent years, Nelsons has led the CBSO in an entire Beethoven symphony cycle, which was distinguished by huge, questing energy, as if the music were eagerly searching for its own future. This performance of the Ninth felt different, more majestic and spacious, less concerned to grip us by the throat with sheer rhythmic excitement. The slow movement was luxuriantly slow, and the way each section melted into the next via a change of harmony was beautifully eloquent, like a door opening onto a new landscape. In the Finale, though the jubilant moments were indeed jubilant (thanks to a fine quartet of soloists and the CBSO chorus), it was the reflective moments and impassioned invocation to “join in one embrace, you millions!” which really struck home.”


Blog post by Mark Berry – Boulezian:

Click here for full post

…     “Nelsons forestalled applause, thank goodness, by moving immediately to the finale. He and the orchestra fairly sprung into and through its opening: very impressive on its own terms, although it would surely have hit home harder, had it been properly prepared by what had gone before. The cellos really dug into their strings too. Nelsons had them and the double basses paly deliciously softly for their recitative; now, a true sense of drama announced itself, expectant rather than merely soft. Bass-baritone Kostas Smoriginas delivered his ‘proper’ recitative, ‘O Freunde …’, with almost Sarastro-like sincerity and deliberation. I liked the way the rejection of such ‘Töne’ was no easy decision. The soloists as a whole did a good job; that there remains a multiplicity of options, and dare, I suggest, a residual insufficiency to any one quartet, says more about Beethoven’s strenuousness of vision and humility before his God than performance as such. The CBSO Chorus, singing from memory, was quite simply outstanding. Weight and clarity reinforced each other rather than proving, as so often, contradictory imperatives. Nelsons imparted an unusual sense of narrative propulsion, almost as if this were an opera, or at least an oratorio: I am not sure what I think of such a conception, but it was interesting to hear it, and there was no doubting now the conviction with which it was instantiated. The almost superhuman clarity of the chorus’s words – ‘Und der Cherub steht vor Gott!’ a fitting climax to that first section – certainly helped. It was fun, moreover, to be reminded of the contrabassoon immediately afterwards. (Was that the tenuous connection with the Woolrich piece?) The infectious quality to the ‘Turkish March’ brought with it welcome reminiscences of Die Entführung aus dem Serail. And the return to ‘Freude, schöner Götterfunken’ proved exultant in that deeply moving way that is Beethoven’s own.”     …

Review by Melinda Hughes, Spear’s:
Click here for full review
…     “John Woolrich’s ‘Falling Down’ composed for double bassoon and orchestra was written especially for Margaret Cookhorn, the CBSO principal double bassoonist. What a piece, a highly spirited rhythmical onslaught of the senses, and what an instrument, reminiscent of the sounds of the mothership from Close Encounters.With Andris Nelsons conducting this Prom, one could be guaranteed a lively evening. This was his very last concert with the CBSO so it was a fitting farewell. Nelson’s energy and novel expression are very entertaining, yet he can be grand and regal when required, particularly in the hugely sonorous Ninth Symphony. He accentuated dramatic pauses in the music, producing a majestic moments of silence which seemed to fill the Albert Hall. The choir and soloists were in fine voice, particularly soprano Lucy Crowe, whose beautiful timbre simply thrilled me. What a luxurious tone she has. I simply love the Proms.”
Review by Colin Clarke, SeenandHeard, MusicWeb:
Click here for full review
“Andris Nelsons has been Music Director of the City of Birmingham Symphony Orchestra since 2008, and this Beethoven Ninth formed part of his farewell for pastures new – Boston and its Symphony Orchestra, to be precise. The programming was intriguing: two works by arguably the greatest master of them all framed an over-long, inconsequential London première.
The Overture to The Creatures of Prometheus is a slim piece, a mere five minutes. But there is something of the core of Beethoven there, concentrated into a perfectly proportioned morsel. Beautiful orchestral balance, pinpoint scampering strings and razor punch to tutti chords characterised Nelsons’ Beethoven; and promised much for the Ninth of the second half.
But first came the London première of John Woolrich’s Falling Down – a “capricho” for double bassoon and orchestra dating from 2009. The soloist, Margaret Cookhorn, is the dedicatee – she also gave the world première of the piece, which was a CBSO commission – and her way with the long, resonant lines exuded confidence. This could have been such an eye-opening piece, and the Stravinskian element to the opening in particular augured well from the pen of a composer whose music in this writer’s experience has so often been characterised by its greyness. Yet the length of the piece far outweighed its invention. Effects abounded, not least antiphonal timpani, and the way that the lower orchestral instruments, such as cor anglais, tuba and trombones, both supported and extended the soloist. The opening gestures move towards the top of the orchestra’s range, from which the piece descends.”     …
Review by Nahoko Gotoh, BachTrack:
Click here for full review
…     “The second movement was swift and breezy, in fact too breezy so that the scherzo section lost some of its earthiness, and the contrast between the scherzo and the trio became blurred. Here too, Nelsons took the music in longer phrases, moving the music forward, but so mellifluously that the timpani interjections felt too abrupt. It was elegantly played, with some interesting attention to detail, but was this the “Affekt” Beethoven intended in this movement?
Elegant cantabile playing was certainly intended in the sublime Adagio movement and indeed there was beautiful playing especially by the woodwind and the violins. Nelsons took a decidedly Romantic approach and he micro-managed and shaped every single melody out of sheer enthusiasm, but I felt he pulled around the tempo too much (even in the first clarinet entry at the beginning was delayed for effect). In fact, throughout the work, there were some dynamic contrasts and ritardandi that seemed exaggerated.
The work regained momentum in the final movement, joined by the excellent CBSO Chorus and a harmonious vocal quartet of Lucy Crowe, Gerhild Romberger, Pavel Černoch and Kostas Smoriginas. The opening recitatives by the cellos and basses were fluent and eloquent, as was Smoriginas’ solo entry “O Freude”. Interestingly, in the Alla marcia section, Nelsons avoided bombast, taking a lighter approach and making sure the tenor could be heard over the choral forces. In the vocal quartet, Lucy Crowe’s soprano soared and her top B was spectacular. Nelsons controlled and inspired the massed forces and at one point in the first choral climax of “Freude schöner Götterfunken”, he seemed to turn around to the audience as if to say “join us!”. All in all, it was a warm, passionate and lyrical performance – if lacking a little in interpretative depth – to close CBSO’s magnificent chapter with Nelsons.”

Opening Concert: Verdi’s Requiem


  • Thumbnail

Thursday 22 September 2011 at 7.30pm

Symphony Hall, Birmingham +44 (0)121-780 3333

 City of Birmingham Symphony Orchestra

Andris Nelsons conductor
Kristine Opolais soprano
Mihoko Fujimura mezzo-soprano
Pavel Cernoch tenor
Jan Martiník bass
CBSO Chorus

Verdi: Requiem 84′ Listen on Spotify

Drums thunder, trumpets blast, and a mighty chorus screams out in terror: Verdi’s Requiem isn’t exactly what you expect from religious music! But it’s exactly what you’d expect from the grand master of Italian opera – and Andris Nelsons adores it. Tonight, in these opening concerts, he’s brought together an all-star cast, a super-size CBSO, and our magnificent CBSO Chorus. So prepare to be astonished as he turns the emotional volume up to 11 and launches the new season in a blaze of passion.

Find out what our musicians love about this music – watch music director Andris Nelsons and section leader double bass John Tattersdill discussing Verdi’s Requiem.

To listen to some of the music in this concert, and explore the rest of the season, using our Spotify playlists, click here.

Review by Andrew Clements, Guardian:

…     “The hall played its part, too, enabling Nelsons to move between whispering pianissimos and full, apocalyptic climaxes in the certain knowledge that both extremes would register and nothing would be muddied. The Requiem is ideally suited to his sense of theatricality. Whether in the carefully paced and managed outbursts of the Dies Irae, or the much more intimate textures of the later sections, Nelsons invariably judged it exactly. The CBSO Chorus hung on his every gesture – in the fugues of the Sanctus and the final Libera Me, detonated like explosions of joy, as much as in the whispered closing moments of the work, with the solo soprano Kristine Opolais etched above them.”     …

Review by Geoff Read, SeenandHeard -MusicWeb:

…     “I’m not sure how many pounds Nelsons lost during the evening; giving his all as ever it must have been considerable. What is it about the energy levels of conductors? This maestro was still pumped up after an uninterrupted ninety minutes! Leading by example, the infectious enthusiasm he has provided throughout his three completed seasons in Birmingham, he once again motivated those under his baton. He made the music of Verdi’s memorial to his political idol Alessandro Manzoni fit the words, ensuring that the required emphasis came across, whether from orchestra, choir or soloist. Testament to this was the opening Requiem Aeternam, the gentle supplications of orchestra and chorus on wavelengths from the same hymn sheet. ”     […]

The final Libera Me movement belonged to Opolais.      […]

[…] All her vocal and dramatic attributes shone forth in the Responsory: purity of tone, extensive and even range, lustrous colours and meaningful communication. One line summed her performance up – quando coeli movendi sunt et terra (when the heavens and the earth are moved); we were moved. At Tremens factus, the fragility in her voice portrayed that of a sinner trembling at the seat of judgement – this hair-tingling moment intensified by the sheer force of the final repeat of the Dies Irae. The wave of sound dissolved into Requiem Aeternam. The final bars were equally poignant as Opolais soared above it all – surely this was one soul who would be saved.”     …

Review by Christopher Morley, Birmingham Post:

…     “Nelsons’ CBSO delivered Verdi’s perfect score magically, led so magisterially unobtrusively by Laurence Jackson.”     […]   

[…]     “The solo quartet were magnificent, mezzo Mihoko Fujimura a real find, tenor Pavel Cernoch and bass Jan Martinik ardent and persuasive.

As for soprano Kristine Opolais: her singing brought a properly operatic drama to the performance (so much of this writing sounds like Aida, from impassioned muttering to soaring religious ecstasy. Husband Andris will have been well pleased.”

Rating * * * *