Review of BBC Prom 66 – Chineke! plays Tchaikovsky’s ‘Pathétique’: “Notes of wonder”

The 2024 season hosts the orchestra’s return to the festival, performing a repertoire celebrating the genius of the Russian composer, while also paying homage to American culture through a rendition of original works and arrangements. Guillermo Nazara shares his views on the show, to let us know if this mixture of modernity and tradition manages to feature a sugar-plum fairy ending.

“Would you like some more sweat?”. Contrary to what you may be expecting (because you are expecting it) and to the history of my previous reviews, I swear you, I guarantee you, cross my heart, that this is not what you’re thinking of. It was said, and massively welcome onstage. But these were the Proms! And it’s supposed to be a serious jaunt. Though that doesn’t mean we cannot have a little bit of fun. Oh, dear… Here we go again!

Yet, despite the tormentuous lush that fuels Tchaikovsky’s sound, many forget (or perhaps, completely ignore) the fact that, despite the inner struggles that clouded the writer’s mind, his overall attitude was still driven by that fiery energy coming from those who treasure life. American Jazz legend Duke Ellington’s take his ballet suite, The Nutcracker, transposing his late Romantic tones to a playful, pentatonic parallel may actually be the ultimate catalyst of the composer’s essence. Joyful, invigorating and superbly melodic, his brassy, rhythm-powered revision of the utmost winter fantasia manages to keep the enchantment of the original, while bringing out a contemporary, electrifying flavour which, despite maintaining certain elements of nostalgia, looks into the horizons of modern times.

Last Sunday night, the Royal Albert Hall drenched into that vibe through the Proms return of the Chineke! orchestra. Delivering a full tribute to the legacy of Russia’s most acclaimed musician, the concert was primarily a celebration of showmanship and originality – preserving the tradition and sentimental basis of Tchaikovsky’s signature, but also opening a window to the winds of artistic freedom and creativity. Conducted by Andrew Grams, also making his first-ever appearance, the whole troupe gave as astounding rendition exuding precision and delicacy in their interpretation, while also flaunting elements of soaring liberty that made every work truly transcend.

Proving absolute understanding of both phrasing and layering, Grams’s execution boasts great attention to detail – delivered, nonetheless, with tremendous ease and flow, allowing every piece to breathe and move with gracious gentleness, while also inciting its more biting side through the pungency of his approach.

That very same trait could (and should) be applied to composer to guest composer and pianist Stewart Goodyear, performing his own soloist concerto Callaloo, a calypso-tinted rhapsody combining the brashness of Caribbean beats with the blazing virtuosity of Liztian-inspired segments. A solid accomplishment from a writing perspective (oozing cinematic allure blended with an old-fashioned Broadway savour), the only (though not preoccupying) flaw comes from some tiny excerpts of his piano rendition – which, though showing enormous commitment and determination, could still benefit from a slightly defter articulation in the melodiousness of some snippets.

Yet, if a sole statement should be made to describe the emotions that ruled over last Sunday’s act, that would be, without a single speck of doubt, of an utter and total triumph. Regaling their audiences with an evening led by interpretative excellence, as well as a kind of stagy garishness that very rarely do we get to be taken by in this sort of events, Chineke! brings the exclamation of its name to tangible reality by concocting a night of beauty, zeal and, on the top, fun. It made a mixture of new and old that brandished loyalty to all its sources. And still, it managed to make every note of it their very own.

All pictures credit to BBC / Andy Paradise.

The 2024 BBC Proms run at London’s Royal Albert Hall until 14 September. Tickets are available on the following link.

By Guillermo Nazara