
Why can't the BBC Proms stick to classical music?
On day two, the Proms presents 'The Great American Songbook and Beyond' with Samara Joy, which is followed by 'Round Midnight' with 'hip hop artist Soweto Kinch'. That's followed a few nights later by Angeline Morrison singing folk songs from her album 'The Sorrow Songs', and then Arooj Aftab and Ibrahim Maalouf with their 'captivating, eclectic melting-pot of influences from jazz, folk, pop, blues and South Asian' and 'Middle Eastern melodies…jazz, Latin jazz, and African rhythms' respectively.
There's an evening of Soul Revolution, which will 'trace a path from spirituals through gospel to soul, revealing the role of these genres in supporting the Civil Rights movement.
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Times
16 hours ago
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Hallé/Wong review — masterful Mahler in a stunning prom
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BBC News
a day ago
- BBC News
The Swansea terraced house that looks like a stately home
From the outside, this three-bedroom house on the outskirts of Swansea looks like an ordinary terraced home. But step inside and it reveals a remarkable work of art - a beautifully decorated neo-classical interior inspired by 18th Century Royston Jones, 77, originally from Ceredigion, inherited the house after his father passed away. Over the past five years he and his partner Fiona Gray have transformed it room by room using their own plasterwork and decorative Jones said his love of art and interior design was shaped by his experiences growing up as a foster child, and by visits to grand estates across west Wales and to Heveningham Hall in Suffolk. Mr Jones didn't learn about his past until he was 18 when he discovered relatives in Newquay who had never known of his existence, as his unmarried mother had kept his birth a by various foster families, including the Honourable Lady Aitken, he said he encountered "some really interesting" and "well-connected" individuals who left a lasting impact on his life and artistic Lady Aitken he was introduced to the Van Eyck family of Heveningham Hall, which he described as the "finest neo classical interior in Europe" and his "spiritual home".Mr Jones explained: "It's enormously grand. "It's longer than Buckingham Palace and it stands in the middle of the countryside with a great lake in the valley."His visits sparked a lifelong fascination with King George III's favourite architect James Wyatt, who designed the hall's interiors, and he has since built up an archive of the inside of the the government purchased it in 1970, Mr Jones spent significant time researching and photographing Heveningham Hall - and the entrance hall in his Swansea home is now modelled on its entrance hall. After studying art at Lowestoft in East Suffolk, Mr Jones went on to attend London College of Fashion. However, a serious illness forced him to pause his studies. During his long recovery he turned to academic research on architecture and began crafting his first neo classical models."I just find it incredibly beautiful," he said. "It's almost too delicate to survive - and yet it does. It's everywhere."It was during this period that he met Ms Gray. The two began working together, with their first paid commission in 1985 where Ms Gray assisted him. Since then they have spent the past 50 years creating intricate one-eighth scale models of neo classical interiors, focusing on the period between 1760 and work has been commissioned by a number of high-profile people and has earned them numerous awards. These include models of both Sledmere House's drawing room in Yorkshire and the Painted Room from Spencer House. The latter was originally intended as a gift for Diana, Princess of Wales and was described at the time by Lord Rothschild, who had restored Spencer House, as "a masterpiece, a work of genius".Mr Jones has held major exhibitions in Bond Street, created artwork for Russian palaces, and completed plasterwork in a grand Robert Adam mansion in Portland Square, pair's decades of working together has led to their long-term project; their home in Swansea. Built in 1910, the house on Llangyfelach Road in Treboeth is a two-storey brick property with a low-pitched slate Jones said his father moved from Newquay in Ceredigion after the war and settled in Treboeth with his stepmother, later leaving the house to him and Ms Gray "unexpectedly".The pair moved in from Norwich and began transforming the Jones said: "I thought we were living in this plain old box, and I wanted to bring some beauty into it."He added the house looked "very different" before they took it over as his father and his wife were "very conventional"."I'm sure he'd be amazed if he saw all this now." The pair transformed it room by room, so far decorating six rooms with only one at the back still Jones explained that "hand by hand" they designed every ornament, created the moulds, and cast each piece said the simple ceilings took up to four weeks to complete, while more intricate features like the staircase took much to him, visitors "can't believe it" when they step inside."They all gasp as they come in," Mr Jones said."They call it a Tardis, because on the outside it just looks like nothing and then they walk through the door and they are shocked." Although Mr Jones and Ms Gray are content with life in Swansea, calling it a "lovely place" where "people are so nice", they are considering a move."We're looking for somewhere quieter with bigger rooms, so we can really go wild with even more plasterwork," Mr Jones ahead, they hope to find "someone sympathetic" to buy their home - "someone who truly appreciates what we've done, so it isn't gutted or ripped out."


The Guardian
2 days ago
- The Guardian
Lim/CBSO/Yamada review – wonderful Rachmaninov and a swirling Sinfonia
London's Koreans helped ensure a sold-out Royal Albert Hall for the Proms return of Yunchan Lim on Friday night, paired this time with the City of Birmingham Symphony Orchestra under Kazuki Yamada. But Lim doesn't just shift tickets. His huge social media following ensures waves of global attention for everything he does or that is written about him. This Prom will achieve this for an unusual reason. Soon after Lim began Rachmaninov's fourth piano concerto, a distant alarm started ringing in the Albert Hall. Red lights flashed high up. Yamada and Lim pressed on. At the end of the movement, Yamada left the podium and disappeared off-stage, leaving the musicians and audience uncertain. After about five minutes, though it felt longer, the red lights stopped, the alarm was silenced and Yamada returned, to applause and relief all round. By all accounts, Lim was laid-back about it afterwards. I bet the BBC was less relaxed. But it did not seem to affect the pianist himself, who often showed how naturally he can conjure a willing audience into silence with his range and touch. Lim's command of sound is wide, as his Korngold encore would also prove, but Rachmaninov's fourth is not an easy work to project, especially in a vast hall. It veers, sometimes vertiginously, between weighty and whispering, and there are hints of composers like Ravel. The playing was wonderful, but a bit more spaciousness in the interpretation would have made it even better. At the start, Yamada conducted a glisteningly clear account of John Adams's propulsive foxtrot The Chairman Dances, which showcased the excellence of the CBSO's wind and percussion sections. Then, after the interval, and in an already notably less crowded hall than before, came Berio's Sinfonia, with its swirling and microscopically fragmentary mix of styles and cultures, written amid the reckless intensities of 1968. Berio's score for orchestra and voices, some electronically enhanced, could once feel like an obsequy for a dying western culture, with its homage to Mahler, and its allusions to Martin Luther King and absurdist theatre. Yamada and his musicians captured the piece's hauntingly chaotic sound world and its troubled intensity. But, like so much else, Sinfonia has become a period piece now. It reconnects with an era in music that no longer exists, when composers and audiences were far more open to the disruptive and the new than they are now. The steady trickle of some remaining members of the audience towards the exits throughout the performance felt like testimony to that. Listen again on BBC Sounds until 12 October. The Proms continue until 13 September