They could have done better. Not that much in terms of execution- although that wasn’t exceptional either -but regarding their choice of repertoire, which was eclectic but hardly electric. Not everything can be great, that’s true. But all my previous interactions with the Fantasia Orchestra have got close enough. Not this time, however. And although calling it an utter disappointment would be an unfair exaggeration, it wouldn’t be inaccurate to say last Tuesday’s late prom left audiences unfulfilled for most of the evening.
The beginning was promising, opening with a symphonic version of John Coltrane’s (appropriately titled) Welcome, followed by Duke Ellington’s mercurial I Don’t Mean A Thing. As such, the group honoured one of their signature traits by merging the sultry vibrancy of jazz with the vigorous splendour of classical music, forming a near-perfect bond. Once again, Tom Fetherstonhaugh demonstrated ample craftsmanship as a conductor, manifesting in his clear layering and gentle phrasing.
His proficiency wasn’t displayed at its finest, nonetheless. Overall, the pieces flow — but many don’t soar. While all technical aspects are impeccably handled, their expressiveness is limited. In some way, it’s like listening through a partition. We can observe the soulfulness each opus brims with, but it rarely permeates us. Consequently, their potential is corseted. It shows, but it doesn’t materialise. And ultimately, there is an element of brilliance that, for the most part, is noticeably missing.
The use of confusing, occasionally pointless works didn’t help either. The world premiere of Héloïse Werner’s The Wood Pigeon was underwhelming at best — out of respect, I shall omit what it was like at worst. All in all, the piece feels completely incoherent and doesn’t lead anywhere. It’s just a random combination of short, unappealing musical segments framed under a rehearsal process — using Werner’s pre-recorded remarks as its guiding thread. Suffice it to say that the whole thing comes across as a lazy excuse for a composition. And it’s not worth giving more notes to a creation that lacks any memorable ones.
Vicent Ho’s Sandman’s Castle allowed guest percussionist Evelyn Glennie to shine through her fervent, soulful, and varied gong playing. Albeit slightly derivative, Ho’s music still conveys sentiment and atmospheric quality, painting a vivid picture through eerie hues and the evocative, incidental essence of a cinematic score. Glennie’s second highlight came in her pulsating rendition of Orologeia aureola on the halo drum — a simple yet exceedingly haunting concoction that teems with spirituality and a comforting sense of eternalness.
The evening proceeded with a few more gratifying works, namely the fiercely impassioned Finale of Dvořák’s Czech Suite (adequately performed despite some intermittent flatness) and Ralph Vaughan Williams’s transfixing Serenade to Music — arguably their most accomplished interpretation, reigniting the orchestra’s lost sparkle and roughly restoring it to its former glory.
Regrettably, the night concluded with an a cappella rendition of Meredith Monk’s Panda Chant, which featured the entire body of musicians, conductor included, singing a banal counterpoint melody while shuffling aimlessly — and making no impression other than a failed, unnecessary gimmick.
They are capable of more. And hopefully, that’s what they will deliver next time. As for this last Prom, the Fantasia Orchestra has left listeners hungry for more. Not because what we’ve been offered feels tremendously appetising, but because it just isn’t enough. There’s nothing wrong with bringing experimentation, spectacle, and fun to a symphonic jaunt. But they should be beneficial, not an impediment to the overall enjoyment.
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All pictures credit to Chris Christodoulou.
The 2026 BBC Proms play at London’s Royal Albert Hall until 12 September. Tickets are available on the following link.