Day 19: Proms Redux

"I see you stand like greyhounds in the slips,
Straining upon the start.  The game's afoot:
Follow your spirit, and upon this charge
Cry 'God for Harry, England, and Saint George!'"
      - Shakespeare, Henry V (III.i.1-34)

After yesterday's rather somber post about the labours of dragging a body accustomed to action through the tension and discomfort of relaxation, I'm glad to say I was somewhat more animated on Friday.  Two days of R&R had proved more than enough, and now a wall of errands of admittedly varying levels of dullness stood before me, the pith and peel that required careful and methodical unwrapping before I could get at the juicy flesh - pizza at the amazing Rossopomodoro, and the hugely anticipated Film Music Prom at the Royal Albert Hall (my third this season).

I will spare you the details of my multiple voyages to Kingston, to attend the gym and to find some walking shoes for my weekend in Wakefield, and of my haircut in Surbiton - if you are desperate to hear the ins and outs of these trivialities then you can always find me on Twitter. I did, however, enjoy the feeling of once again being busy, of performing tasks and enjoying their results, even if those tasks were hardly Herculean labours. Striding from house to town to bus with the Test Match in my ears and what I liked to think was a steely visage of determination on my face, time ticked quickly and fruitfully, so much so in fact that before I knew it I was in Covent Garden, mooching slowly around the various shops and stalls awaiting my slightly-delayed girlfriend.  By this point, with only a hastily consumed Waitrose salad inside me, I was ravenous.

I never cease to witter on about Rossopomodoro (on Monmouth Street) to everyone I know.  It is the most authentically Italian restaurant I have ever visited in London - in that the service is attentive yet incredibly patchy. I asked for two beers, yet received only one glass. I gave our usual pizza order to one waiter, who shrugged in what I believed was grudging acknowledgment, before his colleague returned in five minutes to say could we please repeat our order as he seems to have forgotten it already. Once your mains have arrived you are condemned to restaurant limbo, so that you have to practically wave your wallet in someone's face before you are allowed to pay.

All of this sounds awful, but they are just some of a number of reasons why this place is so real, so authentic.  We English Londoners, used to clipped confidence and smart service, visit Rossopomodoro and experience a new methodology, one where patience and humour is required, because the staff are simply enjoying their jobs, having fun, and smiling and joking with regular customers (many of whom appear to be Italian). And once you have sampled their simply divine La Verace pizza - for which all ingredients, including the water for the dough, come from Naples - then you won't care an ounce about what hurdles you may have had to leap to get that far.

Dinner digested and, eventually, paid for, we took a Number 9 Routemaster bus, one of the few still working in London and as such a gloriously retro experience, and sauntered to the Royal Albert Hall.  We arrived perhaps a couple of minutes before 7, to be greeted with a ringmistress of a ticket inspector who insisted we marched on the double to our seats as the performance was about to commence.  I had rather banked on a gin and tonic and a peruse through the programme first, having mistakenly believed the concert wasn't due to start until 7.30, but instead we were herded like disobedient sheep to our 2nd Tier box just as the conductor made his way onto stage.

The concert itself was mixed but on the whole extremely successful.  It tried to cover almost every base imaginable, and couldn't help falling flat at times (including a particularly turgid performance of Walton's Henry V suite, which despite stirring narration from Rory Kinnear of the key scenes, sounded woefully out of place), but overall it was a real triumph of a night. The usual favourites were all out in force - Star Wars, Psycho, Murder on the Orient Express, the main themes from Out of Africa and Schindler's List - but two other arrangements really stood out. 

Firstly, and rather surprisingly given I've read none of the books, was the performance of Hedwig's Theme from Harry Potter (I'd previously confused Hagrid and Hegwid before, much to Jo's consternation), which is a real masterpiece of mystery and suspense.  John Williams' haunting opening melody, chimed gently on celeste, is magical enough, but the swooning string scoring and staccato brass betray a real sense of ingenuity in the construction of the score. 

Secondly was a rousing collection of highlights from the James Bond films, with all the main themes covered, but what struck me was how much the BBC Concerto Orchestra really seemed to be enjoying themselves - at one point, during a particularly important mid-bar rest, the string players as one twirled their instruments full circle before continuing as if nothing had ever happened. I was in fits of laughter at its sheer audacity and comic timing. 

As I've said before, the Proms should be praised for consistently aiming away from of elitism and cultural snobbishness and instead embracing allcomers to appreciate top-class music making. Yesterday's concert was simply another example of that theory being put effortlessly into practice.