Review of BBC Proms 2025 ‘Mendelssohn’s Violin Concerto’: “Hadelich’s soaring interpretation takes composer’s signature work to higher consummation”

The internationally renowned classical music season returns to the Royal Albert Hall for its 2025 edition, once again combining some of the most prominent pieces in the genre with introductions to new work. Guillermo Nazara shares his views on the event to let us know if this assortment of songs without words came off as magical as a midsummer night’s dream.

There still needs to be a Prom concert that fills me with disappointment. Who knows? The following review may have that wish granted (now that’s clever marketing). However, as for what the BBC Symphony Orchestra regaled audiences with last Thursday, under the deft direction of conductor Sakari Oramo, the standards have remained refreshingly high in what, on the whole, resulted in a compelling, bombastic, and galvanising celebration of Romantic music.

Flaunting an excellent understanding of the first half’s repertoire both technically and dramatically, Oramo’s lush phrasing created a simmering array of melodious effervescence — honing every bar with delightful intricacy, where every note exuded power and meaning, allowing listeners to delve into each section by enhancing its emotional stir.

Opening with Stravinky’s The Song of the Nightingale, the performance acted as an explosion of orchestral colour, taking attendees on a cinematic journey of staggering tangibility — painting such palpable, pulsating images effused with an Asian zest, elevating the composer’s work by accentuating its vigour and delicacy while delivering its rhythmical complexities with effortless prowess.

The great winner of the night arrived in the form of Mendelssohn’s Violin Concerto in E Minor, for which soloist Augustin Hadelich gave an extraordinary rendition through an impeccable blend of craftsmanship and sentiment. Displaying the same, if not better, faultlessness in his execution, his arresting, heartfelt interpretation inundated the viewers with an enduring sense of yearning and soulfulness, conveyed through the seductive fervour and intoxicating bravura he endowed every passage with.

There have been a few occasions when the spell was partially broken. Hadelich’s encore, responding to the well-deserved, rapturous applause that followed his masterful playing, didn’t brandish the same kind of sparkle as its precursor. Making a safe bet with Gardel’s attested people-pleaser, Por Una Cabeza, Haldelich’s take oozed a similar grade of delicacy, tunefulness, and expressiveness. Yet, the lack of fervour and piquancy, a deal-breaker for any Argentinian tango, ultimately made his approach come off as too mellow and bland.

The event also hosted the European premiere of Anthony Davis’s contemporary symphonic work, Tales (Tails) of the Signifying Monkey, whose mixture of classical and jazzy elements resulted in an initially compelling Bersteinesque sound. Yet, the absence of evolution and surprise, beyond its germinal harmonic richness, prevents any ideas from moving anywhere, let alone landing. Consequently, its appeal is only sporadic, soon to be taken over by a persistent feeling of dullness.

The lavishness and flamboyance of the beginning were regained, almost entirely, through a most enjoyable finale featuring Strauss’s Till Eulenspiegel’s Merry Pranks, which, despite some discreet glitches coming from the brass’ solo, still made up for Act Two’s unsatisfactory start. Once again, Oramo’s exceptional attention to texture and ability to decant the piece’s vibrancy rose to the surface, perhaps with a lower degree of earnestness throughout, but still demonstrating his ingrained artistic eloquence.

Gathering an enthralling selection of high-class repertoire and presenting it with parallel skillfulness, last Thursday’s Prom successfully brought guests together through an enduring sensation of wonder collectively shared across the house, and triggered by the technical awe and captivating poignancy emanating through most of it. Despite a few not-too-concerning blemishes, it wouldn’t be far-fetched to consider it a tour de force. No matter the occasional shade, there’s so much brilliance to celebrate in Oramo and Hadelich as well as Stravinsky and Mendelssohn — even if with the latter, you don’t know how to love him.

The BBC Proms 2025 play at London’s Royal Albert Hall until 13 September. Full programme and tickets are available on the following link.

By Guillermo Nazara