Review: PROM 55 – GERSHWIN'S PIANO CONCERTO, Royal Albert Hall

The Boston Symphony Orchestra’s second outing at this year’s Proms celebrated the magic of movement, with varying degrees of dance in pieces by Stravinsky, Ravel, Gershwin, and a European première from Carlos Simon. Their programme took the audience back in time, beginning in the 2020s and ending in the 1910s; a century of music with a whole host of inspirations.

Carlos Simon’s Four Black American Dances comprises “Ring Shout” (a religious ritual first practised by enslaved people in America and the West Indies), “Waltz” (inspired by debutante balls), “Tap!” (a short and sweet impression of the popular dance form), and “Holy Dance” (commemorating the joyous nature that persists in many Black American congregations today). It’s an astonishing piece of work, and by far the most engaging of all the premières this season; each movement captures the specific rhythm, feel, and energy of their dances - a sublime experience.

Simon himself was in the audience, and received an extended (and thoroughly deserved) round of applause for his composition of this instant classic.

It’s been the year of Stravinsky’s ballets at the 2023 BBC Proms: The Rite of Spring will be performed by heart (twice) this coming weekend, The Firebird was the featured piece of Prom 44, and the 1946 orchestration of Petrushka took us into the interval at this concert. It feels like a logical progression from the fairytale world of The Firebird to a fantastical, but ultimately dark, story of three puppets caught in a love triangle - plus you start to hear Stravinsky’s own distinctive style coming through.

The piece is full of fantastic imagery, and the Boston Symphony Orchestra’s theatrical (yet playful) performance left me wanting to see a staging of Petrushka - if The Nutcracker can get an outing every Christmas, why can’t there be a Shrovetide tradition for this ballet?

Jean-Yves Thibaudet joined the orchestra after the break as the soloist for George Gershwin’s Piano Concerto in F major, dressed to impress in his usual flamboyant style (Vivienne Westwood was responsible for designing many of his previous outfits). This concerto comprises three movements, and followed on from Gershwin’s hugely successful Rhapsody in Blue; there are shades of this - and foreshadowing of his future opera Porgy and Bess at various moments, showcasing Gershwin’s blend of jazz and classical music.

The second movement will also sound familiar to musical theatre fans, as this was incorporated into the stage adaptation of An American in Paris - it was a moment for principal trumpeter Thomas Rolfs to shine, before Thibaudet sprung back into action on the piano. The audience clamoured for an encore, but in the end Thibaudet lived up to the old showbiz adage: always leave them wanting more.

Closing the evening was “a waltz to end all waltzes”, in Ravel’s La valse. Written in the aftermath of the First World War, it combines Ravel’s feelings from his time in the French army with the mood of continental Europe after their collective experience. Every time it strikes up into the full waltz, it feels as though it’s teetering on the edge of a precipice - a sentiment that is also familiar in the modern world. Conductor Andris Nelsons was absolutely in his element as he whirled the orchestra along to the piece’s dramatic conclusion.

A perfectly pitched evening of dance and theatre - a fitting way for the Boston Symphony Orchestra to round off their brief residency at the Royal Albert Hall.

The Proms are at the Royal Albert Hall until 9 September

Photo credit: E. Caren

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