Classic Brit Awards 2006

Last year I described the Classic Brits as a concert and something more. I have not changed my mind! Last year I commented that the RAH was not full, in spite of the opportunity to hear performances from such wonderful artists – it was the same this year. When else could you hear Placido Domingo for £25?! – but still there were a lot of empty seats again. Such a shame!

For long, complicated reasons I had arrived very early, and saw, at the front of the Hall, the proverbial “red carpet” with the Classical Brit award board behind and a sea of photographers in front. And so I joined them, just in time to realise that Katherine Jenkins was just arriving, posing for photographers, walking around the crowds, being interviewed, talking to people…. She was wearing the very elaborate pink dress, a photograph of which was in most newspapers Friday morning! And then arrived numerous other celebrities, either having been nominated or being presenters of awards etc. I had managed to push myself to be next to the Press Association interviewer and photographer, so could hear bits of the interviews.

Hayley Westenra came next, in a simple greeny grey shiny dress, looking very natural; then Lesley Garret looking as if she would pop out of her top at any minute, and Amy Nuttal in a simple off white dress. Then Nicky Spence complete in kilt again and backed by a group of Scottish guardsmen in kilts also, and again with his spikey hair - very friendly and chatty with everyone - Vittorio Grigolo, Aled Jones; and then some of the presenters, Darcey Bussell in a very simple long black dress which she told the interviewer was her mother’s from the 1950s and she had found in the wardrobe! (what a contrast with all the others, who said they were dressed by this and that designer!), Penny Smith, and Jilly Cooper. And towards the end, Nicola Benedetti in a long, sleek, pale green dress.

We were allowed in at 7.15 for an 8.00 start. Inside, the arena of the hall, as last year, was cleared and set up with tables at the back half, 8 -10 people per table, with lights and sparkleys on the tables, and the remains of the meal they had been eating being served and then cleared by the waiters. The front half of the arena was set up for the orchestra, with blue stick lights sticking up along the front and sides. On the stage an enormous sort of spider’s web was the total backing, filling the whole space, and I later realised the web also had sparkles on. At the right was a tower of some sort, which I assumed would be used for someone singing – but it wasn’t, so was only there for effect! Some steps came down the left, covered in sort of tree effects, which were used for people entering and exiting the stage. And up from the arena was the long staircase, lit along the rail, for the artists in the hall to mount to receive their prizes. Above the stage was a large screen saying “Classic Brit Awards” and with the figure of Britannia on, and “Brought by National Savings and Investments”. As last year we had the bonus of free programmes on our seats!

The lights dimmed and on came the English Chamber Orchestra, conductor Simon Wright. And then the presenter for the evening, Michael Parkinson, who introduced “The World’s pre-eminent Tenor – Placido Domingo”. Domingo somehow looked very alone in the middle of the stage, with a single spotlight on him as he sang “Vurria”. As the applause resounded, the lights circled and arched round.

The Contemporary Music Award was presented by Katherine J, and was won by James MacMillan – I was a little surprised in that Karl Jenkins was nominated, and he is so popular, but then all the awards, as I understand it, apart from the album of the year, are chosen by critics and Karl Jenkins is not considered by some to be “real” classical music! The singer of the year award was presented by Tom Conti – nominees Andreas School, Bryn Terfel and Ren?©e Fleming - and was won by Andreas Scholl. Andreas was not at the RAH, but was in New York, and a filmed acceptance speech was shown on the screen.

Next we had Dame Kiri Te Kanawa. I shall go against all the received wisdom and say that her dress was, to me, the dress of the evening - it was supremely simple, either a very very dark grey or black with sparkly effects on, very elegant, swept to the floor, and with a stole over her shoulders and I thought she looked superb. Those who know the Requiem by Karl Jenkins will know the last piece, “In Paradisum”. This had been adapted for Dame Kiri, and we had Karl Jenkins conducting the orchestra and Dame Kiri singing. As I love the music anyway, that was a special treat. The front colour sticks had turned pink, the back of the stage behind the spider’s web had turned deep red, and there were two girls and an instrumentalist behind, giving backing. Secondly Dame Kiri sang “O Mio Babbino Caro”, a very delicate and controlled performance. She was presented with a bunch of flowers by Michael Parkinson, and left the stage to enthusiastic applause.

Next we had the presentation for the Soundtrack / Musical Theatre Composer of the Year, won by Dario Marinelli for “Pride and Prejudice”. Marinelli was in the hall and so came up the stairs from the arena. He made a lovely acceptance speech! – thanked his wife who looks so beautiful tonight – and his two girls at home who keep his heart! He also thanked Britain, saying he had been here many years and is very happy here – Aah! Penny Smith came on to present the award for Ensemble / Orchestral Album of the year, and said ”You notice I’ve not been asked to present the singer of the year award!” (shades of “Just the Two of Us”) The winners were the Tak?°cs Quartet; again no-one was there to receive the award, and again we had a recorded message on screen.

And now Vittorio Grigolo! My notes said “Very dramatic! Very Italian!” Vittorio came slowly down the steps on the right of the stage to the centre to sing “Maria”. Behind the spiders web was an enormous moon effect. He really was fabulous, and just held the stage and the auditorium. Vittorio went off stage, the orchestra started again and Vittorio came slowly back on stage from a different entrance, holding his coat, down the steps and sat at the foot of the web, to sing “Una furtiva lagrima”. He has amazing control of his voice, and was extremely dramatic with it! I was very tempted to give him the WOW of the evening award – maybe it had to be shared with someone else later…. As Vittorio left to resounding applause, Michael Parkinson said “The voice! The looks! – the complete package!” (yes!)

David Mellor introduced the Critic’s Award, which was won by the Royal Opera House Chorus and Orchestra with Placido Domingo and Antonio Pappano, both of whom were in the Hall and came together to recipe the award. Glowing tributes were paid to Placido by David M and Antonio P, while the background behind the spider’s web glowed orange and then changed to red – it seemed very effective!

To take us up to the interval Alison Balsom, trumpeter, and nominated for Young Musician of the Year award, played Vocalise by Rachmaninov. This was followed by the Bach Concerto in D major. Alison’s long blond hair was coiled up on top, and she wore a long white, trailing dress. The pale blue turquoise lighting behind her for the Rachmaninov changed to red for the Bach – brighter music, brighter stage!

Photos of the evening can be found at:

Wire image:

http://www.wireimage.com/

filmmagic:

http://www.filmmagic.com/

getty images:

http://editorial.gettyimages.com/

or
http://editorial.gettyimages.com/ and type in classical brit

wenn

http://photo.wenn.com/

empics

http://www.empics.com/

lfi

http://www.lfi.co.uk/


During the interval, the stars were mixing, and Katherine J was moving around signing autographs. Meanwhile, the Cambridge singers moved into their positions on stage, the women dressed in dark dresses to match the men in their dark suits. John Rutter moved to conduct, and Nicky Spence, in his trademark kilt, came on stage to sing the world premier of “The Gift of Music”. Dry ice made clouds rise around him and waterfall off the front of the stage into the orchestra, the stick lights were white and the lighting mauve and turquoise, finishing with Nicky and the choir all turquoisey! Nicky left and the choir alone sang “For the Beauty of the Earth”, the dry ice had gone and the background was now red.

Michael Parkinson introduced the presenter of the Young British Classical Performer award, Katherine Kent. Alison, who had played earlier, came up from the arena to collect the award, a white stole over her long white dress. Meanwhile the stage-hands brought on three long rows of candles of varying heights, and a three tiered stand of candles, and these were gradually lit. The stage was now deep red, and the lighting sticks red also, as the orchestra was introduced as playing the Overture from “The Marriage of Figaro”, as a commemoration of the birth of Mozart 250 ago.

The Instrumentalist of the Year award was presented by Lesley Garrett to Leif Ove Andsnes, who, again, accepted via an onscreen message. We were then introduced to Roland Villazon – another very strong voice, another very dramatic performance, this time of “Recondita armonia” from Tosca. He really has to share the WOW of the evening award with Vittorio, I am afraid! He was greeted with whistles, great applause, some people standing for him – and as he left the stage he used his hands to say “keep it up!” Even Michael Parkinson came on stage and just said ”Oh Wow!”

Next came Simon Bates to present the Album of the year. He listed the contenders; there were some whistles as we went through the list, especially for Katherine and “Living a Dream”, and there was little surprise, except, apparently, to Katherine herself, when Katherine was announced the winner. She climbed the stairs to the accompaniment of “I vow to thee my country” and enormous applause.

Finally – the Lifetime achievement award for Placido Domingo: to present the award were Darcy Bussell and Antonio Pappano, representing the Royal Ballet and the Royal Opera House respectively. Placido received a standing ovation and nearly broke down in his very emotional and charming acceptance speech.

“Now we come to the finale – Placido Domingo and Rolando Villazon” said Michael. No-one came on. “Oh, they’re not ready” he added, and then “we talked in rehearsal as to what I would do if needed to fill in time, and we decided we would go through “The Marriage of Figaro” and I would sing every part!” He burbled on a bit more, and then on came Placido and Rolando, singing together, apparently, for the first time. We had a blue background, and a yellow stage with a single spotlight on the two singers as they sang together “Non ti scordar di me!” They were truly fantastic, and the audience erupted at the end. The final orchestral piece was almost an anti-climax!

A really wonderful evening – do come next year! It is so worth it!

Added: May 7th 2006
Reviewer: xbons
Score: