Jonathan Aasgaard (cello), Sinfonia of London / John Wilson

Verdi Overture: La forza del destino (1861-2, revised 1869)
Walton Cello Concerto (1955-56)
Respighi Feste romane (Roman Festivals) (1928); Fontane di Roma (Fountains of Rome) (1915-16); Pini di Roma (Pines of Rome) (1923-4)

Royal Albert Hall, London
Friday 24 July 2026

Reviewed by Ben Hogwood Photos (c) BBC / Chris Christodoulou

On a sultry Friday evening at the BBC Proms it was entirely appropriate for John Wilson and the Sinfonia of London to relocate their audience to the heat of Italy.

Verdi’s overture to La forza del destino was the curtain raiser, beautifully phrased and with its ‘fate’ theme brilliantly delivered by the strings. The lyrical counterpart – recognizable from certain beer adverts – simply floated on air.

Walton’s Cello Concerto was similarly airborne, though this is a very different work, written while the composer was living on Ischia, in the Bay of Naples. The opening bars, though precise, were shrouded in mystery, the ticking chords from the orchestra striking an unease from which it took soloist Jonathan Aasgaard a while to emerge. The cello’s opening melody, one of Walton’s finest, was initially tentative but subsequent reappearances gave it more conviction, the orchestra providing exquisitely shaded support.

Aasgard has recorded the work with the Sinfonia of London, whose cello section he leads, and the established togetherness with the orchestra was a clear asset. As the faster music evolved, there was a singularity of voice, though not the extravert approach of some performances, the anxieties in Walton’s music remaining. These were ultimately banished by a lyrical third movement, then a terrific cadenza and some lively exchanges between soloist and orchestra, though even here the closing bars were left with an open-ended question. A compelling performance, nonetheless – and one to revisit.

To say Respighi throws open the doors and windows when writing for orchestra would be an understatement. It is rare to encounter works of such colour and characterisation, secured through an experienced hand whose training with Rimsky-Korsakov and Martucci yielded a bold and often extravagant style. Coarse, too, on occasion, as Wilson and his charges illustrated with the beginning of Roman Festivals.

The first of a triptych written by Respighi in homage to his home city, the festivals are not for the shrinking violet, with Christian martyrs thrown to the lions even before the end of the first movement. The loud music was suitably dramatic but there was reverence and restraint in the quiet passages, where we could have been in the depths of the Colosseum itself. Here there was extraordinary control, a quality not always associated with Respighi but one which served him well here. Jubilee was terrific, as was the cut and thrust of The October Festival, and it is a credit to Wilson that the most uneven piece of the triptych was brought off with conviction, its finale reminding us of Stravinsky’s influence on the composer.

This is also evident in Fountains of Rome, but the riot of colour that found the orchestral virtuosos in their element is purely of Respighi’s hand. The wind and brass excelled through the undulations of The Fountain of Valle Giulia at dawn, with beautiful solos from oboe (Fergus McCready) and horn (Christopher Parkes), while Respighi’s lavish illustrations of the Triton and Trevi fountains were rendered with equal parts care and extravagance. The latter rose to full-bodied splendour as an ideal balance was struck between organ (Richard Hills) and orchestra. Delicacy was however once again evident in The Fountain of the Villa Medici, Wilson’s eye for detail highlighting the twinkling edges of Respighi’s wonderful part writing.

And so to the biggest crowd pleaser, the Pines of Rome, whose opening flourish in the Pines of the Villa Borghese set the tone in glorious technicolour. The murky, dusty humidity of the Pines near a catacomb was vividly portrayed, the solemn utterance of its Gregorian chant growing to an awesome climax of poise and power. Pianist Ben Dawson was superb in the rippling textures of The Pines of the Janiculum Hill, as was the baleful clarinet of Chris Richards. The movement ended memorably with the recording of the nightingale, with which Respighi transfixed his audience from a gramophone recording back in 1924. Over a century on, it once again held the Albert Hall in its grasp. From the depths emerged the final march, The Pines of the Via Appia. This was the night’s crowning glory, a long and brilliantly managed crescendo that somehow kept getting louder, 130 players giving their all in a thunderous and exultant finish to raise the roof.

This moment alone was worth the admission, but there was a final treat in the form of Rossini, the final galop from his overture to William Tell, entirely appropriate and given with evident pleasure. For this is what John Wilson and the Sinfonia of London are all about, their pure enjoyment of music translated into performances of rare distinction and character. No wonder the house was full, the cheers long and loud – we all knew we had seen one of the standout moments of this year’s Proms festival.

You can watch this Prom on the BBC iPlayer, or listen to it on BBC Sounds until the end of September 2026. Meanwhile you can click on the links to access the Roman Trilogy in recorded form from the Sinfonia of London and John Wilson, and Jonathan Aasgaard’s recording of Walton’s Cello Concerto with the same orchestra

Published post no.2,959 – Sunday 26 July 2026