I only watched the Elgar and the interval chat because I'd dropped in at my mother's with the dog as the driving rain we'd set off in became torrential.  As I had to walk home, I left at the end of the interval. 

I thought the Elgar was superbly performed.   I've always thought that Jacqueline du Pre had done the definitive version but I felt that tonight's was on a par for technical ability and emotional portrayal.   What a beautiful cello as well!  An 18thC Stradivarius on loan from the Royal Academy.  It had a lovely mellow tone.  I thought it was particularly excellent for a live performance.

1989 i think (?)

The chorus was very impressive in the Beethoven, I thought. Singing from memory makes such a difference, and isn't really too difficult- should be done more. I've sung in the Beethoven lots of times - still wake up at the cues! I like the simpler clothes - not a dinner jacket to be seen - very good idea because it's so hideously hot in there.

I'm not really mad about Beethoven symphonies, but the last movement of 9 guarantees I will be an emotional wreck by the end - combination of words and music. I start weeping at "Alle Menschen werden Brüder" and don't stop. (I didn't cry when I was singing in it!)

The Elgar was very good, I thought, not as overwhelming as the du Pre, but beautiful in its own more understated and probably more Elgarian way - bad case of cellists' faces though. Why do cellists do this? Violinists don't, usually. I didn't think he should have to do an interview straight after.

Ah, I don't think I heard many Proms that summer. However, I have very much enjoyed and admired the three recorded performances of the work, as directed by Noirrington, which I have heard.

Yes I do mean Mitsuko Uchida.  I watched her playing Mozart once and it was actually embarrassing in the slow movement.  She looked as though she was experiencing a really bad bout of severe constipation.  There's just no need for it.

I was sweating buckets during the Beethoven. But I didn't care. It was a really visceral performance from the chorus. Being blasted by Herr Pape was quite an experience! Had trouble keeping a straight face.

The Elgar I found really over-egged. He played the same tricks every time he wanted to do some expression. A comrade was apparently so bored by it, he contemplated leaving at the interval (he didn't and was glad of it).

I'm with Tony Watson on Prom 1. Yes, the RAH helps no-one much, but the simple basic fact is that the BBCSO are a workmanlike house band doing their best, but not an outstanding orchestra. Paul Watkins deserved better behind him, and, one of these days, are we going to get over du Pre and out the other side? Fine interpretation, but surely - hopefully - not the last word. Each generation re-defines its attitudes to the core repertoire, doesn't it?