Last Updated on September 7, 2025
A Kaleidoscope of Music from Schultz and the Chamber Orchestra of Europe
4.5 out of 5.0 starsWhile Golda Schultz was the undisputed focus of last night’s BBC Prom, the Chamber Orchestra of Europe, with Robin Ticciati on the podium (fresh from Glyndebourne), made its presence strongly felt. The evening opened with the Proms premiere of Franz Schreker’s Chamber Symphony and concluded with Stravinsky’s dazzling Firebird Suite, a showpiece that leaves no room for weakness in the orchestra.
Franz Schreker’s Chamber Symphony (1916) is a single-movement work written for 24 instruments, including three keyboards (harmonium, celesta and piano). The piece unfolds as a continuous arc, balancing lyrical passages with intricate counterpoint and dense harmonies. While influenced by Mahler and Debussy, it showcases Schreker’s distinctive voice.
Some of the subtleties of the score were inevitably lost in the vastness of the Royal Albert Hall, and the reduced instrumentation led to a somewhat restricted dynamic range. Even so, there were magical moments, not least an ethereal flute solo that hung delicately in the air.
Golda Schultz, a clear favourite with the Proms audience, opened her sixth appearance with George Gershwin’s By Strauss, a lively curtain-raiser that set the tone for an evening of songs and operatic excerpts designed to keep listeners engaged. Orchestrated by Russell Warner, the number gained colour and weight, though at times the fuller sound risked overpowering Schultz’s vocals.
She followed with Kurt Weill’s Youkali, a tango-habanera that played perfectly to her mellifluous tone, showcasing both her expansive dynamic range and her seamless transition from middle to upper register.
Summertime from Porgy and Bess, was a programming choice that felt spot on. Schultz offered a poised, beautifully paced performance, capped with a sustained final note that drew the breath from the hall, while the orchestra provided a sensitive, understated accompaniment.
The first half closed with Lost in Stars, the opening number from Kurt Weill’s final Broadway musical, based on ‘Cry the Beloved Country’, was delivered by Schultz with brilliant musical-style pzazz. Another number with a message, the work explores the personal and social consequences of racial injustice and moral conflict in South Africa.
After the interval, a number from The Rake’s Progress, ‘No Word from Tom‘ showcased Schultz’s silky vocals, superb intonation and ability to transition across a wide range. Finishing on a sustained top C, delivery was rhythmically strong and beautifully articulated.
Glück das mir verblieb from Die tote Stadt (Korngold) followed, and the performance as a whole struck a perfect balance between expressive vocal nuance and Korngold’s lush orchestration, leaving a lingering sense of bittersweet longing. A fabulous legato throughout and some dramatic use of dynamics from Schultz showcased her incredible vocal capabilities.
‘Somewhere’ from Bernstein’s West Side Story was Schultz’s final number. A crowd pleaser that was notable for the way Ticciati ensured the orchestra was perfectly synchronised with Golda, although of the songs she performed it was for me the least suited to her voice.
Closing the evening, the 1945 version of Stravinsky’s The Firebird Suite is the composer’s own concert adaptation of his 1910 ballet score. Condensed for performance without the full staging, it preserves the drama, vivid orchestral colours, and rhythmic energy of the original, highlighting both lyrical passages and powerful climaxes in a streamlined form that brings Stravinsky’s early style vividly to life.
Last night’s performance offered a thrilling finale that highlighted the full capabilities of the Chamber Orchestra of Europe. Ticciati set a measured pace, allowing the audience to appreciate the expressive clarity of the wind solos and the delicate interplay between sections. Haunting, precisely articulated passages from the winds, horn section, and principal strings brought out the work’s magical textures. With the full complement of players, the orchestra displayed remarkable technical skill and ensemble cohesion, filling the Royal Albert Hall with a performance that was both commanding and finely detailed while Ticciati maintained a firm and sensitive control throughout.
Evenings like this are what the Proms should be about. If you have never been to one, there is a wide diversity of programming with something for everyone, and it is a magical experience. You can always listen live on Radio 3, and you’ll find this Prom with Golda Schultz, the Chamber Orchestra of Europe and Robin Ticciati on Listen on BBC Sounds
For the full Proms programme, check here
Golda Schultz Sings Gershwin and Bernstein at the Proms
Royal Albert Hall
Kensington Gore,
South Kensington,
London SW7 2AP
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