Back at the start of November we performed Beethoven’s epic Missa Solemnis, together with conductor Gianandrea Noseda and the Philharmonia Chorus. In this video we catch up with audience members after the concert to ask what they made of it – and there’s also some short extracts from the performance too.Read More
Friday saw our performance of Beethoven’s Missa Solemnis at the Royal Festival Hall. Not only was it the first time we’ve performed this piece for 15 years, it was also the first time we had worked with conductor Gianandrea Noseda. Here’s what the critics and audience made of it.
The Times (subscribers only)
johnsandell John Sandell
Missa Solemnis @theoae: loved it (with a couple of small reservations). Friends didn’t: “too loud”. But it’s not meant to be comfortable.
_mattl Matt Lewis
Disappointingly flat Missa Solemnis from @theoae last night. Muddy sound, shouty choir, general balance problems (RFH acoustics to blame?).
gui_arnoldo Guilherme Arnoldo
@theoae Thought Mr. Noseda was going to take flight during the ‘Gloria’ tonight: talk about energetic! Awesome performance, you guys rock 🙂
ryan_e_hill Ryan Hill
@NosedaG @theoae @Philchorus Thank you for a really moving performance of Beethoven’s ‘Missa solemnis’ tonight. My eyes did moisten. 🙂
On 4 November we’re collaborating with the Philharmonia Chorus to perform Beethoven’s epic Missa Solemnis in a concert which is given in memory of Sir Charles Mackerras, who was both President of the Philharmonia Chorus and an Emeritus Conductor of the OAE.
The other week we caught up with players from the Orchestra to find out more about this relatively rarely performed piece. It seems that not everyone loves it…but there’s only one way to find out for yourself – come!
Find out more about the concert here.Read More
I might have just been paranoid, but I’m pretty sure that when I stood up and took this picture in a meeting, announcing that I was going to write a blog article, that everyone thought I was a bit mad. And probably wondered how I was going to make this meeting sound in any way interesting to people.
But I thought that you, our readers, fans and concert-goers might be interested in some of the behind-the-scenes stuff that goes on at the OAE, and indeed, other Orchestras.
This relates a little to a favourite anecdote of our CEO, Stephen. He was asked at some function-or-other if being Chief Executive of the OAE was a full-time job. The person asking was pretty surprised when he said yes, and even more surprised when he said it was also a full time job for the 17 others in the office too.
So when you look at the Orchestra’s staff list in the concert programme you may well be thinking ‘what do all these people actually do?!’
Well, in the Communications team, one of the things we do is (and this may come as a surprise to you) talk and plan with other Orchestras and our main London venue, Southbank Centre. This is where Pride comes in. Pride is not anything to do with a march or a type of bread but is instead, rather more mundanely, the name of the regular marketing meeting the four Resident Orchestras; the London Philharmonic Orchestra, the Philharmonia, London Sinfonietta and ourselves, have with Southbank Centre. The name ‘Pride’ comes from around 10 years ago, when these meetings first started off life as a group working on exhibiting ‘pride’ in the Resident Orchestras.
We have these about every 4-6 weeks and use it as a way of coordinating things like the launch of each season, mailings, bringing up any issues with things like leaflet racks or plasma screens, sharing audience research findings and so on.
At the meeting in question we were talking about one of the more exciting things we work on and one thing where we definitely all make a joint effort – the start of the classical season. We’re always keen to make a bit of a splash with this, to alert the concert-going public that the Proms are over and it’s time for the start of the ‘proper’ (!) classical season. Not only that but we all want to raise our profiles and remind people that while other very good venues exist in London, Southbank Centre really does offer an unrivalled choice and breadth of classical performance.
So, we’ve been talking in recent meetings about the scope of the campaign – should it be a tube campaign as we did last year? Or should it be more rooted on the Southbank Centre site? We went for the latter. We’ve also been talking about which pictures to use for the campaign, and the re-development of the Classical mini-site on the Southbank Centre website. This is going to feature a video trailer for the new season, so we’ve talked about what that should contain and all contributed footage for it. We’ve also engaged an agency to help promote the launch of the site and the new season online. Everything is progressing nicely now – so expect […]Read More
Last summer we asked you to help us decide on our Vespers postcard, and now we’re turning to you again to put your thoughts into the pot as we decide on a postcard to promote our performance of Beethoven’s Missa Solemnis this Autumn, for which we’re collaborating with the Philharmonia Chorus. Rob, the designer at Harrison & Co, has come up with a number of designs, which we’ve narrowed down to three. Needless to say, there’s a variety of differing opinions, so as before, we thought we’d ask our audiences what they reckon too.
So, here are three possible cover designs for the postcard. Take a look and vote for your favourite (strictly First Past The Post, no second preferences please), and if you feel so motivated then leave us a comment too. Votes in by Tuesday 10am please!
UPDATE: Thanks all your votes – looks like the red one won by a mile!Read More