Royal Northern Sinfonia Prom: A Tale of Two Halves at The Glasshouse @ The BBC Proms (Gateshead)

Johann Sebastian Bach
Keyboard Concerto in D minor, BWV 1052

Felix Mendelssohn
Symphony No. 2 in B flat major, Op. 52, ‘Lobgesang’

David Fray – piano

Hera Hyesang Park – soprano
Adèle Charvet – mezzo-soprano
Benjamin Hulett – tenor

Chorus of Royal Northern Sinfonia
Huddersfield Choral Society
Voices of the River’s Edge

Royal Northern Sinfonia
Dinis Sousa

The latest Prom from Gateshead’s magnificent Glasshouse saw the Royal Northern Sinfonia, under the baton of Dinis Sousa, present a programme of Bach and Mendelssohn, televised for future broadcast. It proved to be an evening of stark contrasts, with the second half providing a truly uplifting experience that almost erased the memory of a rather perplexing opening.

First on the podium was Johann Sebastian Bach’s Keyboard Concerto in D minor, BWV 1052, featuring the acclaimed David Fray at the piano. The Royal Northern Sinfonia’s strings were commendably divided, with cellos and basses positioned upfront, creating a wonderfully homophonic sound that filled the hall. However, Fray’s interpretation of Bach immediately signalled a departure from period-authentic performance practices. His playing embraced a generous sustain on the piano – arguably a little too much – and largely eschewed baroque stylings. This was Bach played for its inherent musical value, a romanticised approach that, while valid in its own right, might not have resonated with purists.

The third movement saw Fray in what appeared to be an undeniable hurry, pushing the tempo at every opportunity. The pace gradually accelerated throughout, leading to noticeable timing discrepancies where the piano and orchestra found themselves not quite in sync. It was a performance that, frankly, needed some rescuing, and the unwelcome applause between movements only served to disrupt any fragile momentum. Despite the wayward tempi, the Royal Northern Sinfonia remained studious in their accompaniment, and Dinis Sousa did all he could to hold the ensemble together, yet the performance inevitably felt ragged. The chosen encore, a piano rendition of the Air from Bach’s Suite No. 3 in D, continued this trend, labouring with an overly sentimental approach and some dubious harmonic choices that were certainly not Bach’s own. It was, regrettably, not a highlight.

Following the interval, it was as if a veil had been lifted. The atmosphere and musical cohesion transformed completely with Felix Mendelssohn’s monumental Symphony No. 2 in B flat major, Op. 52, ‘Lobgesang’ (Hymn of Praise). This magnificent 11-movement “Symphony-Cantata on Words of the Holy Bible for Soloists, Choir and Orchestra” is a work of considerable scale, lasting almost twice as long as any of Mendelssohn’s purely instrumental symphonies and notably being the second symphony in history to include a chorus, following Beethoven’s Ninth.

Where the Bach had sounded somewhat distant, largely due to the smaller ‘chamber forces’ employed, the Mendelssohn’s opening three-movement Sinfonia immediately filled The Glasshouse with a rich, expansive sound. Sousa was now firmly in command, and the orchestra seemed visibly happier, responding with a newfound unity. The second movement, an Allegretto, flowed seamlessly without a break, tripping lightly in triple time, showcasing delicate playing from the wind and string sections of the Royal Northern Sinfonia.

Another round of applause after the Sinfonia threatened to break the spell, but the entry of the combined choirs created an impressive wall of sound. Sung in German, every word resonated with remarkable clarity, even from the back of the hall. This was a truly well-drilled chorus, comprising the Chorus of Royal Northern Sinfonia, the Huddersfield Choral Society, and the ‘Voices of the River’s Edge’ – a vibrant choir of singers aged 18-35, established in 2022 specifically for the Proms series at The Glasshouse. The choral movements unfolded without interruption, building a powerful narrative.

The full chorus impressively lifted the roof of the Sage 1 concert hall with the resounding ‘All men, all things, all that have life and breath’. South Korean soprano Hera Hyesang Park, making her Proms debut, introduced ‘Let everything that has breath praise the Lord’ with a voice that sparkled and rang out effortlessly above the surrounding chorus. Benjamin Hulett’s tenor recitative and aria ‘Sing ye Praise’ was beautifully sung, sensitively accompanied by the Royal Northern Sinfonia. The duet ‘I waited for the Lord’, featuring soprano Hera Hyesang Park and mezzo-soprano Adèle Charvet, was particularly beautiful, their voices blending exquisitely with the male choir members. Hulett’s tenor aria ‘The sorrows of Death’ was poignant as he called out, “Hüter, ist die Nacht bald hin?” (Watchman, what of the night?). The well-known hymn ‘Let all men praise the Lord’ (chorale, “Nun danket alle Gott”) was delivered first in unaccompanied harmony, then with declamatory unison over orchestral accompaniment – truly excellent. The finale, ‘Ye nations, offer to the Lord’, saw the full chorus singing their hearts out, bringing a superb second half to a triumphant close.

‘Lobgesang’ isn’t performed as often as some of Mendelssohn’s other works, largely due to its substantial size, but to hear it live, performed with such conviction and power, was a profound experience. While the Bach presented its challenges, the Royal Northern Sinfonia, Dinis Sousa, the soloists, and the magnificent choirs delivered a Mendelssohn that was nothing short of glorious, reminding us of the sheer joy and impact of live music.