I watched this on BBC4 last night. One has to overlook the strange happenings that resulted from faults in transmission - the odd breakdown, the surprising moment where the Barabbas chorus suddenly bust into Robin Blaze's first aria (how on earth did that happen?) - and concentrate on the actual performance, which I though was excellent in nearly every way. It's a piece I know very well, having sung in it many times, but I've hardly ever heard a performance as audience.

At first I wasn't sure about Mark Padmore's Evangelist. It seemed self-conscious rather than committed, but as the performance went on he became more genuinely involved with what he was singing, and there is no doubt he can sing it. (I don't like his new look, though!) I was very impressed by Matthew Brook in everything he did - he reminded me of Peter Pears, obviously not vocally, but in his ability to engage with what he's doing, and with the audience. No higher compliment from me! Peter Harvey's Christus was good enough, and I loved the soprano Katherine Fuge. It was very interesting to see Jeremy Budd and Nicholas Mulroy in the tenor arias - I remember them both as boy choristers, Budd at St Paul's, and Mulroy at Liverpool Metropolitan Cathedral. They seem to be progressing as one would hope. The Monteverdi Choir and English Baroque Soloists under John Eliot Gardiner were, of course, excellent.

I love this piece, and even though it's at least a dozen years since I last sang in it, I remember every note. In fact, I prefer it to the Matthew in many ways. So much compressed, intense drama.

My youngest daughter was watching this with me.
'Daddy, that man (JEG) needs to sit down.'
'Why?'
'So the people behind him can see'.

Head shaved, hair on the face, George.

I agree that Katherine Fuge's arias were a little different from usual. In the first one I found her phrasing rather strange and jerky, for want of a better word, but I found her completely convincing all the same, and assumed it was some new style I hadn't caught up with - more than likely!

Once again, I opted for the TV transmission where I could fully engage in the visual and audio aspect, discounting yet another evening of technical blips.   Additionally, the subtitles add considerably to my pleasure and understanding.

I assume, Mary, that Mark Padmore's 'makeover' is a legacy from his recent performance as Peter Grimes?    Further, it isn't so long since I watched an off-air recording of his Evangelist in a staging at the London Coliseum.    It took the shape of a documentary re-enactment with the performers adding their comments as they travelled to the Coli from different parts of London.    I recall thinking that he was in danger of becoming too clinical in his approach and needed to be advised that this could be at the cost of spontaneity, or perhaps self-consciousness!

The Prom performance was a most rewarding experience.   Indeed, yesterday was an embarrassment of riches, starting with David Mellor's coverage of RVW and a celebration of Dame Janet Baker's 75th birthday; a most affecting coverage of Noel Coward's poetry on R4, the Prom; RVW - Valiant for Truth on R3, followed by the Bach Cello Suites, 1, 2 & 3, on the late night Prom.   There's going to be tears in mid-Sept when we return to the deadhand of an edited and studio introduced Evening Performance.

So there are advantages in watching/listening at home. It sounded as if it could be a small voice, but of course she could be heard perfectly when broadcast.

His web site still shows him clean shaven with curly greying hair.

 

I thought you'd mentioned it long before Peter Grimes, Jan. I'd forgotten, so it was quite a shock to me. Perhaps he was starting to go bald and thought this look would disguise it.

Gosh