0:00:03 > 0:00:05We are a nation of enthusiasts.
0:00:05 > 0:00:08We love our dogs, our football, our green fields
0:00:08 > 0:00:10and, of course, our music.
0:00:12 > 0:00:13Up and down the country,
0:00:13 > 0:00:16thousands of us give up our evenings and weekends
0:00:16 > 0:00:18to play in an amateur orchestra.
0:00:21 > 0:00:22Much better.
0:00:22 > 0:00:24We've got people who are 16 and we've got people who are 70,
0:00:24 > 0:00:26coming from all walks of life.
0:00:26 > 0:00:31From airline pilots to cheesemakers and everyone in between,
0:00:31 > 0:00:33they all do it for love.
0:00:33 > 0:00:36Thursday night has always been orchestra night.
0:00:36 > 0:00:38It's euphoria, it's great.
0:00:38 > 0:00:39Music's the best.
0:00:39 > 0:00:42We're searching for the orchestra that best captures
0:00:42 > 0:00:45the very spirit of British amateur music-making,
0:00:45 > 0:00:49to find one winner who'll perform at the BBC Proms in Hyde Park.
0:00:50 > 0:00:52We're in it to win it. Not messing about here.
0:01:01 > 0:01:04Last time, orchestras from Devon...
0:01:04 > 0:01:05Birmingham...
0:01:06 > 0:01:09..London...
0:01:09 > 0:01:11Stirling...
0:01:11 > 0:01:14and Yorkshire performed part of a symphony
0:01:14 > 0:01:16at the BBC Maida Vale studios.
0:01:16 > 0:01:18Only four could make it through,
0:01:18 > 0:01:20and so we sadly said goodbye
0:01:20 > 0:01:22to Slaithwaite Philharmonic Orchestra.
0:01:22 > 0:01:24This time, get those vocal cords warmed up,
0:01:24 > 0:01:27because we're heading to the opera.
0:01:27 > 0:01:29Our four remaining orchestras have been given an extract
0:01:29 > 0:01:31from a well-known aria to work on,
0:01:31 > 0:01:35and they've got just three weeks to get ready for a final performance,
0:01:35 > 0:01:38with a professional singer from the Royal Opera House.
0:01:38 > 0:01:40They'll be judged by renowned conductor
0:01:40 > 0:01:44and former musical director of the English National Opera, Paul Daniel.
0:01:46 > 0:01:47Opera.
0:01:47 > 0:01:50What an extraordinary thing for an orchestral musician
0:01:50 > 0:01:51to be able to play.
0:01:51 > 0:01:53It's not just about playing as an orchestra for yourself,
0:01:53 > 0:01:56it's about accompanying a human voice.
0:01:56 > 0:01:59And it's a very big challenge for any orchestra.
0:01:59 > 0:02:03Helping to get the most out of each orchestra is our mentor,
0:02:03 > 0:02:06double bassist and founder of the "Chineke! Orchestra",
0:02:06 > 0:02:07Chi-chi Nwanoku.
0:02:08 > 0:02:10As an orchestral player,
0:02:10 > 0:02:13to accompany the human voice, it's not easy.
0:02:13 > 0:02:16One never knows how long a breath is going to take
0:02:16 > 0:02:19before the singer goes on to the next sentence.
0:02:19 > 0:02:23So if it's a challenge for us professionals, who've done it years,
0:02:23 > 0:02:26it's going to be a real challenge for the amateur players.
0:02:27 > 0:02:29With the help of our experts,
0:02:29 > 0:02:31the orchestras will be put through their paces,
0:02:31 > 0:02:34starting with a masterclass conducted by Paul,
0:02:34 > 0:02:37and then a mentoring session with Chi-Chi.
0:02:40 > 0:02:43Paul and I are starting off in Birmingham,
0:02:43 > 0:02:45home of The People's Orchestra.
0:02:47 > 0:02:51Community-based TPO has been going for four years,
0:02:51 > 0:02:53and was started by orchestra manager Sarah.
0:02:55 > 0:02:58For some people, it is like a second family.
0:02:58 > 0:02:59It's their orchestra family.
0:02:59 > 0:03:01They love coming to it
0:03:01 > 0:03:04and it really fulfils a part of their lives.
0:03:06 > 0:03:07This is a very unconventional orchestra.
0:03:07 > 0:03:11They've got all of these saxophones, all these different instruments.
0:03:11 > 0:03:14But what they do have is spirit, enthusiasm, excitement,
0:03:14 > 0:03:16energy by the bucket-load.
0:03:16 > 0:03:17And I've chosen a piece, of course,
0:03:17 > 0:03:20which will, I hope, play to their strengths
0:03:20 > 0:03:21as well as challenge them.
0:03:21 > 0:03:25HE HUMS MELODY
0:03:25 > 0:03:28THEY PLAY: Toreador Song from Carmen by Georges Bizet
0:03:30 > 0:03:33Although they improved for their final performance,
0:03:33 > 0:03:35last time, Paul felt The People's Orchestra
0:03:35 > 0:03:37were a bit rough around the edges.
0:03:37 > 0:03:40So he's given them a piece to test them on their precision.
0:03:44 > 0:03:46Hello! Oh, hello.
0:03:47 > 0:03:50Sorry. Hello, everyone. Hello. Nice to see you again.
0:03:50 > 0:03:52Sorry to interrupt. First of all, I just wanted to say well done.
0:03:52 > 0:03:55I'm so pleased that we're seeing you again for round two.
0:03:55 > 0:03:57I'm really looking forward to hearing you put through your paces
0:03:57 > 0:03:59by Mr Daniel. CARMEN get it!
0:03:59 > 0:04:00See what I did there?
0:04:02 > 0:04:05Very nice to see you. It's a pity it's not 30 degrees and, you know,
0:04:05 > 0:04:07kind of, sweltering outside,
0:04:07 > 0:04:09because it needs to be to play this opera really well.
0:04:09 > 0:04:12And I want you to transport us to Seville, right now.
0:04:12 > 0:04:14So, let's get started.
0:04:19 > 0:04:24From Bizet's tragic opera, the Toreador Song is sung by Escamillo,
0:04:24 > 0:04:26as he eyes up the title character, Carmen.
0:04:26 > 0:04:29Later on, she's killed in a jealous rage
0:04:29 > 0:04:32by Escamillo's bitter rival, Don Jose.
0:04:36 > 0:04:38OK.
0:04:38 > 0:04:41It's quite sunny. We need a bit more of something...
0:04:41 > 0:04:42I think we need a voice.
0:04:42 > 0:04:44We need Mr Rick Zwart, who is...
0:04:44 > 0:04:46To get used to accompanying a voice,
0:04:46 > 0:04:49all of the orchestras get the opportunity to rehearse
0:04:49 > 0:04:50with a student opera singer.
0:04:52 > 0:04:55So here's Escamillo, a matador, yeah?
0:04:55 > 0:04:58Can you give us a bit of matador action, as well?
0:04:58 > 0:04:59Sure. Yes.
0:04:59 > 0:05:01ORCHESTRA MEMBERS CHUCKLE
0:05:01 > 0:05:03All right, everybody. Two, three...
0:05:07 > 0:05:12# Votre toast, je peux vous le rendre... #
0:05:13 > 0:05:15Supermarket assistant Jacqueline
0:05:15 > 0:05:18has been playing with the orchestra for three years,
0:05:18 > 0:05:22and is playing a slightly different instrument from her usual flute.
0:05:22 > 0:05:24SHE PRACTISES TOREADOR SONG
0:05:27 > 0:05:28No.
0:05:28 > 0:05:30I volunteered to play piccolo
0:05:30 > 0:05:34before I actually saw the piece of music.
0:05:34 > 0:05:35Why do I do these things?
0:05:35 > 0:05:40"Oh, I'll play piccolo part, that'll be absolutely fine, yeah."
0:05:40 > 0:05:41I am struggling with it,
0:05:41 > 0:05:47because the piccolo has very tiny little keys next to each other.
0:05:51 > 0:05:54If you blow too hard, it makes it really sharp.
0:05:56 > 0:05:59If you don't blow enough, it's really flat and it sounds awful.
0:05:59 > 0:06:01It's very... I have to be more precise with this.
0:06:01 > 0:06:02Yes.
0:06:08 > 0:06:09So, Paul, how are they doing?
0:06:09 > 0:06:11Well, all the things I expected - all that energy,
0:06:11 > 0:06:13all that enthusiasm.
0:06:13 > 0:06:15But they've got to be precise.
0:06:15 > 0:06:16HE HUMS MELODY LOOSELY
0:06:16 > 0:06:17HE HUMS MELODY PRECISELY
0:06:17 > 0:06:19That kind of sound, you know? Be really careful.
0:06:19 > 0:06:22You can't drive a ten-tonne truck through this aria.
0:06:22 > 0:06:23Even though it's very strong,
0:06:23 > 0:06:27it's got to be very, very beautiful and delicately played.
0:06:27 > 0:06:29Again. Two, three...
0:06:29 > 0:06:31RICK RESUMES SINGING
0:06:31 > 0:06:34'It's going to be very, very difficult for them, I think.
0:06:34 > 0:06:37'But, knowing their ambition,'
0:06:37 > 0:06:39I think they will pull a few rabbits out of their hat.
0:06:44 > 0:06:45Down in the capital,
0:06:45 > 0:06:48Paul and I joined the London Gay Symphony Orchestra,
0:06:48 > 0:06:53who, this year, are celebrating their 20th anniversary.
0:06:53 > 0:06:54I'm quite excited about opera, actually.
0:06:54 > 0:06:58Yeah, we don't do much opera, so that's going to be interesting.
0:06:58 > 0:06:59Yeah.
0:07:01 > 0:07:05Last time, Paul felt the orchestra played it a bit safe.
0:07:05 > 0:07:08They, I know, are a little bit held back
0:07:08 > 0:07:11with the way they express themselves. They're...
0:07:11 > 0:07:14The idea of them being very sensuous with their playing, and...
0:07:14 > 0:07:16I find... There's a bit of distance.
0:07:16 > 0:07:18That's why I wanted to challenge them.
0:07:18 > 0:07:19Hello, hello, hello.
0:07:19 > 0:07:22I, for one, can't wait to hear what you make of this next challenge.
0:07:22 > 0:07:26So let me hand over to Paul to tell you a little bit more about it.
0:07:26 > 0:07:29Mr Daniel. Thank you, Katie. Thank you. Good afternoon.
0:07:29 > 0:07:30Very nice to see you again.
0:07:30 > 0:07:34This is an aria that is probably one of the best-known arias
0:07:34 > 0:07:35in the world.
0:07:35 > 0:07:37It's by Puccini, it's from La Boheme,
0:07:37 > 0:07:40and it's sung by Musetta in the second act.
0:07:40 > 0:07:43It was a deliberate choice to give you this aria.
0:07:43 > 0:07:46We have to not be cautious, we have to be not restrained.
0:07:46 > 0:07:50We must let our souls sing through our instruments.
0:07:53 > 0:07:56THEY PLAY: Quando Me'n Vo' from La Boheme by Giacomo Puccini
0:08:00 > 0:08:05# Quando me'n vo' soletta per la via... #
0:08:05 > 0:08:09This extract from La Boheme is sung by Musetta,
0:08:09 > 0:08:12who is a flirty and passionate character,
0:08:12 > 0:08:15singing to seduce her occasional boyfriend, Marcello.
0:08:18 > 0:08:19ELIZABETH CONTINUES SINGING
0:08:33 > 0:08:35Easy.
0:08:35 > 0:08:38So this whole thing is like a kind of seduction.
0:08:38 > 0:08:40What's the words?
0:08:40 > 0:08:42I feel... I savour the desire...
0:08:42 > 0:08:43Yeah, I'm tasting you.
0:08:43 > 0:08:45Yes. Yes.
0:08:45 > 0:08:47ORCHESTRA MEMBERS CHUCKLE
0:08:47 > 0:08:51This is why you've got to open your hearts up to this music.
0:08:51 > 0:08:52First violins, 21.
0:08:52 > 0:08:54Seduce us.
0:08:54 > 0:08:57Listen to me. I'm so special...
0:08:57 > 0:09:02First violinist Jo has been with the LGSO since 2001,
0:09:02 > 0:09:07and she was seduced by the violin when she was just eight years old.
0:09:07 > 0:09:09Some of my friends were carrying these oddly shaped cases
0:09:09 > 0:09:12and I thought, "Oh, what's that?" And they said, "We play the violin.
0:09:12 > 0:09:15"But you can't play, it's just for special children."
0:09:15 > 0:09:18So I thought, "No. Actually, this is going to happen."
0:09:22 > 0:09:25I teach the violin to little children.
0:09:25 > 0:09:27Ready, go.
0:09:27 > 0:09:28'And I absolutely love it.
0:09:31 > 0:09:34'Some of my students are as young as three years old,
0:09:34 > 0:09:37'and we have great fun in lessons.'
0:09:41 > 0:09:43Two for two. Well done.
0:09:43 > 0:09:45What makes LGSO so special?
0:09:45 > 0:09:48We all talk, we all chat, we all hang out.
0:09:48 > 0:09:50It's really nice.
0:09:50 > 0:09:52As one of the straight people in the orchestra,
0:09:52 > 0:09:55I'm a different minority and I find that refreshing.
0:09:55 > 0:09:57It's, like, "Hey..."
0:09:57 > 0:09:58And as well as being mates,
0:09:58 > 0:10:03Paul knows that an orchestra has to be bigger than the sum of its parts.
0:10:03 > 0:10:05An orchestra, as a whole - you imagine, perhaps,
0:10:05 > 0:10:08that they're like a kind of bunch of worker bees,
0:10:08 > 0:10:12so that all of these different egos and personalities come together,
0:10:12 > 0:10:14to create something which is much greater
0:10:14 > 0:10:18and much more beautiful than any one of them on their own.
0:10:20 > 0:10:23From the Big Smoke to the rural West Country,
0:10:23 > 0:10:25where conductor of the North Devon Sinfonia, Emma
0:10:25 > 0:10:28and her husband and orchestra leader, Dan
0:10:28 > 0:10:30set up the orchestra 12 years ago.
0:10:30 > 0:10:34We are going to play a piece from opera.
0:10:34 > 0:10:38Between Dan and I, it is very much a double act.
0:10:38 > 0:10:41Working as a husband and wife team, in the orchestra, works really well.
0:10:41 > 0:10:44I think we complement each other.
0:10:44 > 0:10:48I'm quite fast, opinionated, quick-thinking, passionate, loud,
0:10:48 > 0:10:50over the top. And Dan's kind of the opposite.
0:10:50 > 0:10:54Some people say, you know, we're chalk and cheese.
0:10:54 > 0:10:56I think we're more cheese and pickle.
0:10:56 > 0:10:58You know, it really kind of works together.
0:10:58 > 0:11:00It was really exciting, actually, 12 years ago,
0:11:00 > 0:11:02to, kind of, set up an orchestra
0:11:02 > 0:11:06that I could, kind of, do the conducting thing
0:11:06 > 0:11:08without having to, kind of, qualify.
0:11:08 > 0:11:11I just, kind of, naturally qualified by deciding to set the orchestra up.
0:11:11 > 0:11:13There is a nurturing thing there,
0:11:13 > 0:11:17but, ultimately, I just like taking control and being in charge.
0:11:17 > 0:11:18Please don't put that in.
0:11:21 > 0:11:24Well, taking control for today is Paul Daniel.
0:11:24 > 0:11:27Last time, at Maida Vale, although impressed by their improvement,
0:11:27 > 0:11:31he felt the wind section were a little inconsistent.
0:11:31 > 0:11:33So he's testing the orchestra by giving them an aria
0:11:33 > 0:11:36that really challenges the clarinets, flutes,
0:11:36 > 0:11:38bassoons and oboe.
0:11:38 > 0:11:40I've brought one of the most depressing
0:11:40 > 0:11:42but one of the most passionately depressing arias,
0:11:42 > 0:11:47sung by a character called Lensky in Eugene Onegin by Tchaikovsky.
0:11:47 > 0:11:49Maybe we won't talk too much about it.
0:11:49 > 0:11:51Maybe we'll just play it and sing it, yeah?
0:11:53 > 0:11:57THEY PLAY: Kuda, Kuda, Vi Udalilis from Eugene Onegin by Tchaikovsky
0:12:03 > 0:12:10# Skhazi, pridyosh li, dyeva krasoti... #
0:12:10 > 0:12:13This dark Russian opera by Tchaikovsky
0:12:13 > 0:12:16was based on poet Alexander Pushkin's Eugene Onegin.
0:12:18 > 0:12:21Part love song and part suicide note,
0:12:21 > 0:12:23Lensky is singing ahead of a duel
0:12:23 > 0:12:25where he feels he will surely die.
0:12:30 > 0:12:33I want them to come to terms with what Tchaikovsky's written,
0:12:33 > 0:12:36which is a very lonely, lonesome aria,
0:12:36 > 0:12:41with accompaniment which expresses this loneliness and this desolation.
0:12:41 > 0:12:44Just taking it in. It's nice to watch them play.
0:12:48 > 0:12:49What are you singing about here, Peter?
0:12:49 > 0:12:52This first phrase... I'm sort of singing to Olga,
0:12:52 > 0:12:55even though she's not there, "Tell me, beautiful maiden,
0:12:55 > 0:12:59"if you will come and shed a tear on my untimely urn."
0:12:59 > 0:13:00ORCHESTRA MEMBERS CHUCKLE
0:13:00 > 0:13:02Happy chappie(!)
0:13:03 > 0:13:06I tell you what, Peter, why don't you go and sit with them?
0:13:06 > 0:13:08OK. And make some music with them?
0:13:08 > 0:13:11It's very nice to be able to have his line, his poetry,
0:13:11 > 0:13:13right next to you, yeah?
0:13:13 > 0:13:14Without you, he's nothing,
0:13:14 > 0:13:16and without him, you're nothing, you know?
0:13:16 > 0:13:19They're absolutely... They're joined together.
0:13:19 > 0:13:21Go on, then.
0:13:23 > 0:13:28# Skhazi, pridyosh li, dyeva krasoti... #
0:13:30 > 0:13:31Did you want me to play? Sorry.
0:13:32 > 0:13:33I was transfixed.
0:13:36 > 0:13:39So beautiful. No-one's ever sung to me like that before!
0:13:41 > 0:13:44Clarinettist Sarah might have a leading role in the aria,
0:13:44 > 0:13:48but away from the orchestra, she has a lot to fit in -
0:13:48 > 0:13:50looking after four donkeys, three dogs
0:13:50 > 0:13:53and thousands of prize-winning lupins.
0:13:53 > 0:13:55It's quite stressful, running a business.
0:13:55 > 0:13:58The business takes pretty much 24 hours...
0:13:58 > 0:14:02well, not 24 hours - seven days a week, very long days.
0:14:02 > 0:14:05And for me to be able to stop at the end of the day
0:14:05 > 0:14:08and go and play music, is a great de-stresser.
0:14:09 > 0:14:12It certainly is quite tricky to fit in practising.
0:14:12 > 0:14:15A little bit of pressure, but that's fine.
0:14:15 > 0:14:16We're up to it.
0:14:19 > 0:14:20I think.
0:14:20 > 0:14:26# Skhazi, pridyosh li, dyeva krasoti... #
0:14:28 > 0:14:31It's much more difficult than I anticipated,
0:14:31 > 0:14:34playing with an opera singer.
0:14:34 > 0:14:36I'm trying to read the music and watch the conductor
0:14:36 > 0:14:40and listen to the singer at the same time, and it's quite difficult.
0:14:44 > 0:14:46Back in Birmingham, mentor Chi-Chi Nwanoku
0:14:46 > 0:14:49is starting her tour of the orchestras.
0:14:49 > 0:14:51She'll be working on Paul's suggestions
0:14:51 > 0:14:54on how to help the orchestras improve.
0:14:54 > 0:14:55So, if we have...
0:14:55 > 0:14:57SHE HUMS MELODY
0:14:57 > 0:14:59..so we all get to do that rhythm.
0:14:59 > 0:15:02He feels TPO need to evoke the Spanish spirit,
0:15:02 > 0:15:03so Chi-Chi has a plan.
0:15:07 > 0:15:09Brilliant. That's really, really getting it, now.
0:15:09 > 0:15:12Who would like to come along for a bit of a Spanish expedition?
0:15:12 > 0:15:13Yes. Yes.
0:15:13 > 0:15:15Excellent.
0:15:15 > 0:15:18One has to get the feeling that you need to dance.
0:15:18 > 0:15:20You need to be able to dance to this music.
0:15:20 > 0:15:23So Chi-Chi's arranged to do just that
0:15:23 > 0:15:24at a local Spanish restaurant.
0:15:35 > 0:15:38We've got some wonderful performers here, and they're going to show us,
0:15:38 > 0:15:41with their shapes and rhythms and strength and passion,
0:15:41 > 0:15:45what I want you to bring into your performance.
0:15:59 > 0:16:00CHEERING
0:16:02 > 0:16:06The way that the dancers are so passionate, the way that they...
0:16:06 > 0:16:08You've got to have attitude, haven't you?
0:16:08 > 0:16:10And that's what the music needs. It needs attitude.
0:16:13 > 0:16:16This will definitely help to put more Spanish
0:16:16 > 0:16:19into the piece that we're doing, Toreador.
0:16:19 > 0:16:22It's just, like, I know now that, when I'm playing it,
0:16:22 > 0:16:24I will be picturing this.
0:16:26 > 0:16:29They're learning about flamenco, they're dancing flamenco.
0:16:29 > 0:16:31This is only going to help.
0:16:31 > 0:16:34I think it's a really good thing. They're all such great sports.
0:16:36 > 0:16:38And, yeah, they're on their feet.
0:16:38 > 0:16:39It's amazing!
0:16:47 > 0:16:49North of the border, in Stirling,
0:16:49 > 0:16:53Paul and I are arriving for the last masterclass.
0:16:53 > 0:16:55At Maida Vale, Paul was impressed with how far they came
0:16:55 > 0:16:57in the eight-week challenge,
0:16:57 > 0:17:00but felt they fell down on their playing technique.
0:17:00 > 0:17:03So he's given them Madama Butterfly by Puccini,
0:17:03 > 0:17:06which should test them on just that.
0:17:06 > 0:17:09This is intense, this is slow, this is all about accompanying,
0:17:09 > 0:17:12in this case, the wonderful character of Butterfly,
0:17:12 > 0:17:13this young girl.
0:17:13 > 0:17:16So, trumpets, you know where we're starting, at figure 14?
0:17:16 > 0:17:18Three, four, one...
0:17:19 > 0:17:22THEY PLAY: Un Bel Di, Vedremo from Madama Butterfly by Puccini
0:17:22 > 0:17:25# Chi sara? Chi sara? E come sara giunto... #
0:17:25 > 0:17:29Madama Butterfly is a heartbreaking tale of love and rejection.
0:17:29 > 0:17:33In this aria, lead character Butterfly hopes against hope
0:17:33 > 0:17:37that her husband will return to her after three years away.
0:17:39 > 0:17:42This is not easy to accompany.
0:17:42 > 0:17:45The thoughts of Butterfly have got to be converted
0:17:45 > 0:17:47into every note that they play,
0:17:47 > 0:17:51and they have to find the intricacies of the emotions
0:17:51 > 0:17:52in their playing.
0:17:54 > 0:17:56CHARLIE CONTINUES SINGING
0:18:04 > 0:18:07What we've got is something that is almost tailor-made
0:18:07 > 0:18:11to give us technical challenges that we'll need to think about
0:18:11 > 0:18:12very carefully.
0:18:12 > 0:18:14It's not a very long extract, so that makes it manageable.
0:18:14 > 0:18:16But there's an awful lot to do in it.
0:18:16 > 0:18:18The singer could effectively do anything -
0:18:18 > 0:18:21she could hold some notes and, you know, slow down, speed up,
0:18:21 > 0:18:23so we've really got to keep one eye on the conductor
0:18:23 > 0:18:25and then one ear on what she's actually singing as well.
0:18:25 > 0:18:28So it's actually quite challenging to, kind of, do two things at once
0:18:28 > 0:18:31and play at the same time, of course.
0:18:31 > 0:18:35CHARLIE CONTINUES SINGING
0:18:35 > 0:18:37OK. That's it.
0:18:37 > 0:18:41This wonderful melody, it appears and it's gone again already.
0:18:41 > 0:18:42It sort of...
0:18:42 > 0:18:44Cellist Jen has been with Stirling Orchestra
0:18:44 > 0:18:47for ten of their 34 years.
0:18:47 > 0:18:49She fits in rehearsals around bringing up three children,
0:18:49 > 0:18:51all under five.
0:18:51 > 0:18:53That's it. Perfect!
0:18:53 > 0:18:57I would say I'm an average cello player.
0:18:57 > 0:19:03I enjoy playing, I can take a stab at most things.
0:19:03 > 0:19:06I'm not the most technical of players -
0:19:06 > 0:19:09my technique's not very good.
0:19:09 > 0:19:12But I like playing all the big tunes.
0:19:12 > 0:19:14JEN PLAYS CELLO
0:19:17 > 0:19:19I've got a three-month-old baby,
0:19:19 > 0:19:23and I have been practising because of the contest.
0:19:23 > 0:19:26So, actually, he's a very chilled-out baby,
0:19:26 > 0:19:28and he loves me practising.
0:19:28 > 0:19:30I have him sitting in his bouncy chair,
0:19:30 > 0:19:32and I just practise away and he just kicks around.
0:19:32 > 0:19:36And he seems to enjoy listening to the cello, which is fab.
0:19:42 > 0:19:44Anyone like singing?
0:19:46 > 0:19:49ORCHESTRA MEMBERS CHUCKLE
0:19:49 > 0:19:52You can sing it to "la", and sing along with Charlie.
0:19:52 > 0:19:54HE SINGS MELODY
0:19:54 > 0:19:57You hear what she does there? She slides a bit, to get...
0:19:57 > 0:20:01So the connection between the notes is completely without a gap, yeah?
0:20:01 > 0:20:04CHARLIE SINGS
0:20:04 > 0:20:07ORCHESTRA JOINS IN
0:20:12 > 0:20:13Making the orchestra sing
0:20:13 > 0:20:15as beautifully as our singer, Charlie...
0:20:15 > 0:20:18Play it like that and we'll have something special.
0:20:18 > 0:20:20..made a real difference. I was pleased, actually.
0:20:25 > 0:20:26Singing comes a long time
0:20:26 > 0:20:28before anyone picked up any musical instruments.
0:20:28 > 0:20:33Orchestral musicians don't spend a lot of time connecting with that.
0:20:33 > 0:20:36But behind it all is a human voice,
0:20:36 > 0:20:41and that often helps to open up all kinds of responses in the music.
0:20:41 > 0:20:43Yeah, it's coming.
0:20:44 > 0:20:45How exciting!
0:20:47 > 0:20:50Have you guys done much opera? None. None whatsoever.
0:20:50 > 0:20:52It's only three minutes,
0:20:52 > 0:20:55but it's packed with emotion and packed with technical challenges.
0:20:55 > 0:20:57Have fun.
0:20:57 > 0:20:59And thank you very much.
0:21:03 > 0:21:05It was a great idea to get us to sing,
0:21:05 > 0:21:09because it gave us this sort of seamless tone
0:21:09 > 0:21:11that we've got to have, so there's no bumps.
0:21:11 > 0:21:14So now, then, are you now pretty keen
0:21:14 > 0:21:17to stay in through to round three?
0:21:17 > 0:21:19Why do you mention round three?
0:21:19 > 0:21:21We'll carry on till the bitter end.
0:21:21 > 0:21:23Our sights are high.
0:21:23 > 0:21:26So that's it - the masterclasses are over.
0:21:26 > 0:21:30And Stirling Orchestra kindly oblige with a very Scottish knees-up.
0:21:31 > 0:21:35ORCHESTRA PLAYS SCOTTISH JIG
0:21:47 > 0:21:49Thank you very much. Thank you.
0:21:54 > 0:21:57As the orchestras prepare for their final performance,
0:21:57 > 0:21:59homes up and down the country are filled
0:21:59 > 0:22:02with the sound of music practice.
0:22:02 > 0:22:05In Birmingham, Nigel and Danny are working on their precision
0:22:05 > 0:22:07to Toreador from Carmen.
0:22:08 > 0:22:11I put the wrong note in there, so...
0:22:11 > 0:22:14And down in Devon, Jo the cheesemaker
0:22:14 > 0:22:16is brushing up on her Russian.
0:22:16 > 0:22:17As you do.
0:22:22 > 0:22:25The opera's brilliant, because it starts off
0:22:25 > 0:22:28with Olga's mother and the Nanny making jam.
0:22:29 > 0:22:32Very Russian and rustic, I suppose.
0:22:34 > 0:22:37As soon as I saw we were going to do something in Russian,
0:22:37 > 0:22:39I felt, for me personally, it was a good omen.
0:22:39 > 0:22:41I taught myself Russian.
0:22:41 > 0:22:43It's a difficult language and the grammar is a pig,
0:22:43 > 0:22:46but the words seem to stick quite easily.
0:22:46 > 0:22:49"Kuda, kuda vi udalilis
0:22:49 > 0:22:52"Vesni moyei zlatiye dni?"
0:22:52 > 0:22:57I'm trying to find the bit where he is engaged in the duel.
0:22:57 > 0:23:01He says, "Olga, Olga, please come, please come.
0:23:01 > 0:23:02"My wife, my wife..."
0:23:03 > 0:23:04Bang!
0:23:05 > 0:23:06And that's that.
0:23:08 > 0:23:12Back in Scotland, there's a visitor arriving.
0:23:12 > 0:23:14Mentor Chi-Chi has asked Stirling Orchestra
0:23:14 > 0:23:17to meet her at the university cinema,
0:23:17 > 0:23:19where she hopes to help them really feel the power
0:23:19 > 0:23:22of Madama Butterfly.
0:23:22 > 0:23:28The point of this session is to try and wring out some raw emotion.
0:23:28 > 0:23:30I'm done with just hearing notes.
0:23:30 > 0:23:34I want to hear teardrops, I want to sense longing.
0:23:34 > 0:23:38That's why I think it's a great idea to all just watch it, all together.
0:23:38 > 0:23:40I've never been to the opera.
0:23:40 > 0:23:43It's something I would always, maybe, have liked to have done.
0:23:43 > 0:23:46I don't know anything about Madama Butterfly
0:23:46 > 0:23:48apart from the little snippets that Paul told us,
0:23:48 > 0:23:51so I'd love to know more about the story.
0:23:51 > 0:23:54I think the orchestra is really feeling on its mettle.
0:23:54 > 0:23:57This is a pretty tricky assignment for us, actually.
0:23:57 > 0:23:59Hello, Stirling.
0:23:59 > 0:24:01ORCHESTRA MEMBERS RESPOND
0:24:01 > 0:24:02It's great to be back.
0:24:02 > 0:24:05Now, the reason that I'm here is because were going to work
0:24:05 > 0:24:07on this piece of Madama Butterfly.
0:24:07 > 0:24:09I know a few of you have seen the opera before.
0:24:09 > 0:24:11Can I see hands?
0:24:11 > 0:24:13Yeah. So not...
0:24:13 > 0:24:14Not even half of you.
0:24:14 > 0:24:19So, every single one of you have got to find an emotional connection.
0:24:19 > 0:24:21Be prepared - get your hankies ready.
0:24:21 > 0:24:22So, let's see.
0:24:28 > 0:24:31Geisha girl Butterfly, at just 15,
0:24:31 > 0:24:34marries visiting US naval officer Pinkerton.
0:24:34 > 0:24:36He leaves her, returning to America.
0:24:38 > 0:24:42In the aria, Butterfly shares her dream that he will come back to her.
0:25:01 > 0:25:03Of course, all ends tragically.
0:25:03 > 0:25:07Butterfly realises he has a new wife and she kills herself.
0:25:31 > 0:25:33Oh, dear...
0:25:33 > 0:25:35Yeah.
0:25:35 > 0:25:36You could hear a pin drop.
0:25:36 > 0:25:40You could feel that the atmosphere just completely took over the room.
0:25:40 > 0:25:43Everyone was totally engaged.
0:25:43 > 0:25:45That was the first time I saw Madama Butterfly.
0:25:45 > 0:25:48And it was very, very harrowing and very sad.
0:25:49 > 0:25:51But I'm very glad I've watched it,
0:25:51 > 0:25:54because it puts it all in context and...
0:25:54 > 0:25:56A very emotional piece.
0:25:56 > 0:25:58Watching the opera was amazing,
0:25:58 > 0:26:02and I think it probably got through to even the most cynical Scot.
0:26:02 > 0:26:06After the screening, following up on Paul's tips,
0:26:06 > 0:26:08Chi-Chi also gives the technical aspects of the piece
0:26:08 > 0:26:11some special attention.
0:26:11 > 0:26:15Once more. So let's just really try and breathe together.
0:26:15 > 0:26:19With the challenge of starting the aria off are the three trumpets,
0:26:19 > 0:26:23including father and son team Fraser and Elliot.
0:26:23 > 0:26:26I love playing in Stirling Orchestra with Elliot.
0:26:26 > 0:26:29Whether Elliot loves playing in Stirling Orchestra with his dad,
0:26:29 > 0:26:30I don't really know.
0:26:30 > 0:26:32I don't really do much with Dad outside the orchestra,
0:26:32 > 0:26:35because he's at work, I'm at school.
0:26:35 > 0:26:40I have three brothers, one older and two younger.
0:26:40 > 0:26:41We are a very musical family,
0:26:41 > 0:26:45and the living room is usually full of instruments and music.
0:26:48 > 0:26:51Dad tries to get me to practise with him,
0:26:51 > 0:26:53but I try to do it on my own
0:26:53 > 0:26:55because otherwise I get the big lectures on,
0:26:55 > 0:26:56"Oh, you need to do this and do that,
0:26:56 > 0:26:59"and make this better and this quieter..."
0:26:59 > 0:27:02So I try and avoid him, but sometimes I can't help it.
0:27:06 > 0:27:09When we got the music, it was, "How many notes have you got?
0:27:09 > 0:27:11"I've only got ten notes."
0:27:11 > 0:27:14And then it dawned on us how significant they were.
0:27:14 > 0:27:16So breathe together on the upbeat, OK?
0:27:22 > 0:27:24Who's playing first? Are you playing first?
0:27:24 > 0:27:26We had a few goes, cos it was completely un-together
0:27:26 > 0:27:29and nobody knew who was leading anybody.
0:27:29 > 0:27:30Could you lead the section?
0:27:30 > 0:27:32I won't do anything.
0:27:36 > 0:27:37Yeah. Yeah.
0:27:37 > 0:27:41Without talking, you've got to lead with your body and your breath.
0:27:41 > 0:27:44I got the first trumpet to take responsibility.
0:27:44 > 0:27:46Once more.
0:27:46 > 0:27:47'It made an enormous difference.'
0:27:50 > 0:27:53Thank you. That was the first time that you were together.
0:27:53 > 0:27:56They completely nailed it.
0:27:56 > 0:27:59I just hope that they don't panic when it comes to it,
0:27:59 > 0:28:02because it's the first thing that we're going to hear.
0:28:02 > 0:28:04HE HUMS MELODY
0:28:04 > 0:28:08Front and centre in every orchestra is the conductor.
0:28:08 > 0:28:12Dan, in Birmingham, feels the weight of responsibility on his shoulders.
0:28:12 > 0:28:15Being a conductor, for me, it's the best job in the world,
0:28:15 > 0:28:17but it comes with its perils.
0:28:17 > 0:28:20A lot of what we're doing, the responsibility is on me.
0:28:21 > 0:28:25Really come down again on the triplets the second time round.
0:28:25 > 0:28:28Paul wants us to work on precision...
0:28:31 > 0:28:34There's so many little tiny details of articulation - you know,
0:28:34 > 0:28:37the way you play the note, the way you start the note,
0:28:37 > 0:28:39the way you end the note, the way it's connected to the next note.
0:28:39 > 0:28:42In that one comment, we've got so much work to do.
0:28:46 > 0:28:49In London, Chi-Chi's invited a group from the LGSO meet up.
0:28:51 > 0:28:56Including one of the violinists, who also plays in one of her orchestras.
0:28:56 > 0:28:59Doesn't mean you're going to get an easy ride, OK?
0:29:01 > 0:29:03Paul has explained that this orchestra is elegant -
0:29:03 > 0:29:06they play very well, but they're very restrained.
0:29:06 > 0:29:09Now, I've got to find the key to unlock that.
0:29:09 > 0:29:11I've invited someone to come along here, today,
0:29:11 > 0:29:15who has got passion coming out of every single pore.
0:29:17 > 0:29:20Sheku Kanneh-Mason is the 17-year-old winner
0:29:20 > 0:29:23of 2016 BBC Young Musician.
0:29:23 > 0:29:27And he's being accompanied by his sister, Isata.
0:29:27 > 0:29:30Sheku is someone who puts everything on the line.
0:29:30 > 0:29:34He takes risks, he's courageous, he's brave, he's passionate.
0:29:34 > 0:29:37And that's exactly what LGSO need to do.
0:30:08 > 0:30:10Watching Sheku perform is just really engaging.
0:30:10 > 0:30:13There was just so much to watch and the, kind of, proficiency
0:30:13 > 0:30:15that he was jumping around the instrument,
0:30:15 > 0:30:17to the expressions, to the movement...
0:30:17 > 0:30:19I felt really inspired.
0:30:32 > 0:30:34Sheku's an amazing musician.
0:30:34 > 0:30:36The cello's an extension of his body.
0:30:36 > 0:30:40It's very much seamless between the thoughts in his head
0:30:40 > 0:30:43and how it comes out as one voice.
0:31:09 > 0:31:15So, Sheku, when you play with such freedom and abandon and passion,
0:31:15 > 0:31:17what's going through your mind?
0:31:17 > 0:31:20I think the notes written on the page are...
0:31:20 > 0:31:23I think of it as a suggestion from the composer
0:31:23 > 0:31:25of how you can express the emotion
0:31:25 > 0:31:27and how you communicate to the audience.
0:31:27 > 0:31:31I think the rest is up to you, and it's not an exact, obviously.
0:31:31 > 0:31:33I don't think, "I'm going to shake my head,
0:31:33 > 0:31:35"I'm going to close my eyes here."
0:31:35 > 0:31:38It's more what I think the music says to me,
0:31:38 > 0:31:42and trying to communicate what I think to the audience.
0:31:42 > 0:31:44Thank you very much. Thank you.
0:31:50 > 0:31:53Chi-chi wastes no time in ramping up the group.
0:31:58 > 0:32:01Show the passion.
0:32:01 > 0:32:03That's it. OK, brilliant.
0:32:03 > 0:32:04That's...
0:32:04 > 0:32:07Now I'm beginning to feel a little bit of red blood cells
0:32:07 > 0:32:08coming out here.
0:32:10 > 0:32:13Back in Devon, Sarah's doing her best to perfect her clarinet solo.
0:32:15 > 0:32:17The aria is a lovely piece to play,
0:32:17 > 0:32:20but it's got some tricky bits for all the woodwind.
0:32:20 > 0:32:23I've got about four bars that are crucial,
0:32:23 > 0:32:25that interlock with the soloist,
0:32:25 > 0:32:28and I need to get them exactly in the right place.
0:32:28 > 0:32:31I really, really wants to get through to the next round
0:32:31 > 0:32:33and so does everybody in the orchestra.
0:32:33 > 0:32:35And that puts a lot of pressure
0:32:35 > 0:32:37on particularly, I think, the wind players.
0:32:40 > 0:32:42So Chi-chi has invited the wind section to meet
0:32:42 > 0:32:45at a special location to work on really listening to one another
0:32:45 > 0:32:47so they can play as one.
0:32:50 > 0:32:53We've come to these tunnels because I want the wind section
0:32:53 > 0:32:57to really work on listening in great detail to each other.
0:32:57 > 0:32:59So I'm going to position them away from each other.
0:32:59 > 0:33:01Hi, everyone. Hi.
0:33:01 > 0:33:04I've brought you to this incredible place, but not for the view.
0:33:04 > 0:33:07You're not going to have the normal kind of support of your colleagues
0:33:07 > 0:33:09right next to you - you're going to have to
0:33:09 > 0:33:11make your ears work twice as hard.
0:33:12 > 0:33:14OK? Come on, then.
0:33:14 > 0:33:15Let's go into that tunnel.
0:33:19 > 0:33:24I'd quite like to have Emma on horn, seeing as you have the last word,
0:33:24 > 0:33:26I'd like you at the last post.
0:33:26 > 0:33:28OK. Don't be too close.
0:33:28 > 0:33:31You two are rather close to each other.
0:33:31 > 0:33:33That's it. That's it.
0:33:33 > 0:33:34That's great.
0:33:35 > 0:33:38Emma? Yes. Can you hear us?
0:33:38 > 0:33:39Are we coming in loud and clear?
0:33:39 > 0:33:41I can hear you clearly.
0:33:41 > 0:33:45OK. One, two, three, four.
0:33:45 > 0:33:46One.
0:33:55 > 0:33:57Being in a tunnel
0:33:57 > 0:34:01and it being dark and a bit drippy, quite atmospheric.
0:34:05 > 0:34:09Yes, I think playing in the tunnel did make us all listen
0:34:09 > 0:34:11and really think and really count,
0:34:11 > 0:34:13just really concentrate on your own part
0:34:13 > 0:34:15and having to listen to each other.
0:34:23 > 0:34:28Well done. So, if you can do that and play so well together,
0:34:28 > 0:34:31it'll be really easy playing next to each other.
0:34:31 > 0:34:34That session with Chi-Chi really highlighted the fact
0:34:34 > 0:34:36that we need to listen to each other.
0:34:36 > 0:34:37I think we are aware of that,
0:34:37 > 0:34:39but in a cave it really stands out
0:34:39 > 0:34:40when you're not listening to each other.
0:34:40 > 0:34:42It definitely worked because, you know,
0:34:42 > 0:34:45they were out of their normal comfort zone,
0:34:45 > 0:34:47but they just adapted.
0:34:51 > 0:34:54As the sun sets on the mentoring sessions,
0:34:54 > 0:34:56the orchestras are on their own.
0:35:01 > 0:35:05In Stirling, concerned with Paul's comment about technicality,
0:35:05 > 0:35:08Jen's invited a couple of the other cellists around
0:35:08 > 0:35:10for a rehearsal session...
0:35:10 > 0:35:13and mother and toddler group.
0:35:13 > 0:35:16You know, a couple of the girls come over to the house,
0:35:16 > 0:35:20and just playing together helps us as a section to make a better sound.
0:35:24 > 0:35:28I've not done technical practice since I left school.
0:35:28 > 0:35:32So it feels very strange for me to now be doing very slow scales.
0:35:45 > 0:35:47And down in South London,
0:35:47 > 0:35:50flautists Des and Peter are practising La Boheme.
0:35:52 > 0:35:56I think we need to get our head inside Musetta. Yes.
0:36:01 > 0:36:03There you go. A classic example of why we need to do it.
0:36:03 > 0:36:05Not even looking at the key thing that changed.
0:36:05 > 0:36:07We're a little bit behind on practice for this, to be honest,
0:36:07 > 0:36:09because of all the other pressures of life.
0:36:09 > 0:36:12Work is really crazy at the moment, so it's really handy
0:36:12 > 0:36:14just to have this little extra practice, actually, as well.
0:36:17 > 0:36:19With not long to go before their final performance,
0:36:19 > 0:36:24the orchestras are starting to feel the tension.
0:36:24 > 0:36:26OK, can we all finish in the same place, please?
0:36:26 > 0:36:28I stay awake at night because I want it to go well.
0:36:28 > 0:36:31I go through it about 100 times...
0:36:31 > 0:36:36you know, a day, just how I'm going to do it and trying things out.
0:36:36 > 0:36:38I want to get through to the next stage.
0:36:38 > 0:36:40I don't want to let the orchestra down, as well.
0:36:42 > 0:36:46We need to be a lot more passionate than we have been,
0:36:46 > 0:36:49so I dare say we've got that buried deep within us,
0:36:49 > 0:36:52so let's bring it to the fore, shall we?
0:36:52 > 0:36:55The final performance for the opera is almost upon us.
0:36:55 > 0:36:58I'm quite nervous.
0:36:59 > 0:37:01I hope I'm prepared enough.
0:37:01 > 0:37:02I thought...
0:37:04 > 0:37:05..when you sang this...
0:37:07 > 0:37:10..for Paul, the difference was quite extraordinary afterwards.
0:37:10 > 0:37:12It was absolutely amazing.
0:37:12 > 0:37:16We had our last rehearsal and it sounded really, really good.
0:37:16 > 0:37:20The only thing is will have to be really on our game tomorrow.
0:37:20 > 0:37:21Say bye-bye to Mummy.
0:37:21 > 0:37:22Bye-bye.
0:37:24 > 0:37:27After goodbyes, Jen joins the rest of the orchestra
0:37:27 > 0:37:29to travel down to Manchester.
0:37:29 > 0:37:32While flautist Douglas gives them a proper fanfare.
0:37:41 > 0:37:43After just three weeks of rehearsals,
0:37:43 > 0:37:45the day of their final performance
0:37:45 > 0:37:49at the home of Manchester's famous Halle Orchestra is here.
0:37:49 > 0:37:52So this is our opera house for today.
0:37:52 > 0:37:56This is the fantastic space where our four remaining orchestras -
0:37:56 > 0:37:58the Stirling Orchestra, the North Devon Sinfonia,
0:37:58 > 0:38:02the London Gay Symphony Orchestra and The People's Orchestra -
0:38:02 > 0:38:05will be vying with each other to impress our judge, Paul.
0:38:05 > 0:38:09They have all been working so hard again,
0:38:09 > 0:38:11but only three of them can go through to the next round.
0:38:11 > 0:38:15For one of them, this is where they'll be taking their final bows.
0:38:18 > 0:38:21So, Paul, with all the orchestras we're going to see today,
0:38:21 > 0:38:22what is it you are looking for
0:38:22 > 0:38:24that'll make them a good opera orchestra?
0:38:24 > 0:38:28Playing opera, suddenly it's one little phrase, one detail,
0:38:28 > 0:38:31one line that the singer sings that you have to follow.
0:38:31 > 0:38:34It's a very fragile business. But at the same time,
0:38:34 > 0:38:37you have to have this fantastic passion, as well.
0:38:40 > 0:38:43All the orchestras are accompanying singers from the Royal Opera House
0:38:43 > 0:38:45on the Jette Parker Young Artist Programme.
0:38:45 > 0:38:49They have just one 30 minute rehearsal together
0:38:49 > 0:38:51before it's time to stand and deliver.
0:38:51 > 0:38:54Up first, it's the Stirling Orchestra.
0:38:54 > 0:38:58It's quite scary to perform with a professional singer
0:38:58 > 0:39:01that we've never met before, we've never performed or practised with,
0:39:01 > 0:39:03so we've got half an hour to have a run through with the singer.
0:39:03 > 0:39:06I think it'll be a really concentrated half-hour.
0:39:06 > 0:39:08Got a lot of things that we need to work on.
0:39:08 > 0:39:12And the pressure's being felt by Fraser and Elliot.
0:39:12 > 0:39:16There is pressure to start off with because we open up, don't we?
0:39:16 > 0:39:17Yes. With our chord.
0:39:17 > 0:39:19It could easily go wrong.
0:39:19 > 0:39:21But we just hope it doesn't.
0:39:24 > 0:39:27Con tutta passione, yes?
0:39:27 > 0:39:30Absolutely unbridled, yes?
0:39:30 > 0:39:34It will be the moment to put everything into it.
0:39:34 > 0:39:36Good luck and enjoy.
0:39:36 > 0:39:37Enjoy.
0:39:37 > 0:39:39CHEERING
0:39:41 > 0:39:43Let's talk about Stirling Orchestra.
0:39:43 > 0:39:46Madama Butterfly, beautifully emotional aria.
0:39:46 > 0:39:48What do they need to achieve?
0:39:48 > 0:39:49What are you looking for in this piece?
0:39:49 > 0:39:51They're very ambitious, they're very sensitive.
0:39:51 > 0:39:54With the aria, you have to be very clever.
0:39:54 > 0:39:57Clever emotionally, not kind of skilful.
0:39:57 > 0:40:00They will meet the singer for the first time just before
0:40:00 > 0:40:01and have a good rehearsal,
0:40:01 > 0:40:04but in that rehearsal, they have to learn
0:40:04 > 0:40:06about her emotional response to the aria.
0:40:06 > 0:40:09It's all about this wonderful emotional story
0:40:09 > 0:40:12that you're creating which you then have to transfer to the audience.
0:40:16 > 0:40:18Have you been working hard?
0:40:18 > 0:40:21Of course you have. I can't wait to hear it.
0:40:21 > 0:40:23I don't need to remind you that, obviously,
0:40:23 > 0:40:25only three of the four orchestras can go through today,
0:40:25 > 0:40:28so fingers crossed, give it your best shot.
0:40:28 > 0:40:30Over to you.
0:40:41 > 0:40:44# Chi sara? Chi sara?
0:40:44 > 0:40:48# E come sara giunto
0:40:48 > 0:40:52# Che dira? Che dira?
0:40:52 > 0:40:57# Chiamera Butterfly
0:40:57 > 0:41:02# Dalla lontana
0:41:02 > 0:41:07# Io senza dar risposta
0:41:07 > 0:41:11# Me ne staro nascosta
0:41:11 > 0:41:16# Un po' per celia
0:41:18 > 0:41:20# Tutto questo avverra
0:41:20 > 0:41:24# Te lo prometto
0:41:24 > 0:41:30# Tienti la tua paura
0:41:30 > 0:41:35# Io con sicura fede
0:41:35 > 0:41:42# L'aspetto. #
0:42:29 > 0:42:31APPLAUSE
0:42:35 > 0:42:38Thank you very much. Thank you.
0:42:40 > 0:42:43That's it. It's done. Paul's away.
0:42:45 > 0:42:47CHEERING
0:42:51 > 0:42:53I was really moved by that.
0:42:53 > 0:42:55Oh, yes. I was incredibly moved.
0:42:55 > 0:42:59There were still a few little technical bits.
0:42:59 > 0:43:03They thought about so many little details of the aria
0:43:03 > 0:43:05and they worked on them and they transferred them
0:43:05 > 0:43:07into an emotional response.
0:43:07 > 0:43:09There are always things that, you know,
0:43:09 > 0:43:12you wish you could just have gone slightly differently.
0:43:12 > 0:43:15But then there were some things that when so much better than I expected.
0:43:15 > 0:43:18Oh, I'd be gutted if we got thrown out.
0:43:18 > 0:43:21I really hope that Stirling has done enough.
0:43:21 > 0:43:23We all so wanted to get through to the next round,
0:43:23 > 0:43:26just because we're having so much fun.
0:43:26 > 0:43:30Next up, it's the North Devon Sinfonia.
0:43:30 > 0:43:33Slightly on edge, actually, but, no, it's fine.
0:43:36 > 0:43:38Nervous, really proper nervous.
0:43:38 > 0:43:41Bit sick. Haven't slept terribly well.
0:43:41 > 0:43:43Yeah, not good.
0:43:43 > 0:43:46If you play a few duff notes, I genuinely don't care.
0:43:46 > 0:43:50But make sure that we're there with Lensky in the final moments
0:43:50 > 0:43:51before he gets shot.
0:43:54 > 0:43:57To the duelling ground.
0:43:57 > 0:43:58You gave the North Devon Sinfonia
0:43:58 > 0:44:00this aria from Tchaikovsky's Eugene Onegin.
0:44:00 > 0:44:03What are your hopes, what are your fears?
0:44:03 > 0:44:07The wind have to find these lines in response to the singer.
0:44:07 > 0:44:09So they have to have maximum contact
0:44:09 > 0:44:14and find a way to weave their comments and their colours
0:44:14 > 0:44:16into what the singer is doing with his voice.
0:44:16 > 0:44:19And that's really hard at the best of times.
0:44:19 > 0:44:21Go for it, give it your best shot. We can't wait to hear you.
0:44:21 > 0:44:22Good luck. Thank you.
0:44:37 > 0:44:43# Skhazi, pridyosh li
0:44:43 > 0:44:48# Dyeva krasoti
0:44:48 > 0:44:54# Slezu prolit nad rannei urnoi
0:44:54 > 0:44:57# I dumat
0:44:57 > 0:44:59# On menya lyubil!
0:45:02 > 0:45:06# On mnye yedinoi posyatil
0:45:06 > 0:45:10# Rassvyet pecialni zhizni burnoi
0:45:10 > 0:45:18# Akh, Olga, ya tebya lyubil!
0:45:18 > 0:45:25# Tebe yedinoi posyatil
0:45:25 > 0:45:29# Rassvyet pecialni
0:45:29 > 0:45:33# Zhizni burnoi
0:45:33 > 0:45:40# Akh, Olga
0:45:40 > 0:45:46# Ya tebya lyubil!
0:45:51 > 0:46:00# Kuda, kuda, kuda vi udalilis
0:46:00 > 0:46:08# Vesni moyei
0:46:08 > 0:46:20# Zlatiye dni? #
0:46:46 > 0:46:48Thank you very much. Thank you.
0:46:49 > 0:46:52Such a shame we can't do it again, isn't it?
0:46:52 > 0:46:54So, Paul, initial thoughts.
0:46:54 > 0:46:56They were timid.
0:46:56 > 0:46:58The wind, they have to follow those wonderful lines
0:46:58 > 0:47:00that we've talked so much about
0:47:00 > 0:47:01and they've rehearsed really carefully.
0:47:01 > 0:47:03They did really well with those.
0:47:03 > 0:47:05I was very sorry for the cellos, who just slipped up,
0:47:05 > 0:47:07but it's the hardest piece of shifting.
0:47:07 > 0:47:10I know it wasn't perfect, but, God!
0:47:10 > 0:47:12Life isn't.
0:47:12 > 0:47:16One slight corner where the cellos have got a very exposed unison line,
0:47:16 > 0:47:18and it wasn't quite perfect today.
0:47:18 > 0:47:20We've played better in the past,
0:47:20 > 0:47:22so it's slightly disappointing not to completely nail that
0:47:22 > 0:47:24on the performance.
0:47:24 > 0:47:26Some of the orchestra feel a little bit flat,
0:47:26 > 0:47:29so I've been telling them off and going, "You're wrong, actually."
0:47:29 > 0:47:32It's really, really important for us to get through to the next round.
0:47:32 > 0:47:35I think it's just been such a tremendous experience for all of us.
0:47:35 > 0:47:38The London Gay Symphony Orchestra are up next.
0:47:38 > 0:47:40We want to do really well.
0:47:40 > 0:47:45All we can do at this point is to give our best possible performance.
0:47:45 > 0:47:46Oh, seconds to go.
0:47:46 > 0:47:49Hands in.
0:47:52 > 0:47:55It's been a really tough few weeks for us.
0:47:55 > 0:47:57You've all worked incredibly hard.
0:47:57 > 0:48:00I think it's time to go and show what we can do with this one,
0:48:00 > 0:48:02and let's go and be passionate.
0:48:02 > 0:48:03CHEERING
0:48:05 > 0:48:07Paul, the London Gay Symphony Orchestra.
0:48:07 > 0:48:10You've given them this beautiful aria by Puccini.
0:48:10 > 0:48:12In the first round,
0:48:12 > 0:48:15you talked about them needing to open up and be more passionate,
0:48:15 > 0:48:17this orchestra. They just hold back.
0:48:18 > 0:48:23Somehow, when they play, it's just a little bit grey,
0:48:23 > 0:48:25compared with what I'm sure they can do.
0:48:25 > 0:48:27Good luck. Thank you.
0:48:33 > 0:48:39# E dai palesi vezzi intender sa
0:48:39 > 0:48:46# Alle occulte belta
0:48:46 > 0:48:54# Cosi l'effluvio del desio
0:48:54 > 0:48:58# Tutta m'aggira
0:48:58 > 0:49:04# Felice mi fa!
0:49:05 > 0:49:13# Felice mi fa!
0:49:15 > 0:49:23# E tu che sai
0:49:23 > 0:49:29# Che memori e ti struggi
0:49:29 > 0:49:35# Da me tanto rifuggi?
0:49:37 > 0:49:39# So ben
0:49:39 > 0:49:46# Le angoscie tue non le vuoi dir
0:49:46 > 0:49:51# Non le vuoi dir, so ben
0:49:51 > 0:49:58# Ma ti senti morir! #
0:50:10 > 0:50:13Good job, team. Thank you so much.
0:50:15 > 0:50:18They were... They weren't on fire, but they were...
0:50:18 > 0:50:20The spirit was fantastic.
0:50:20 > 0:50:23Oh, my. Emotional. What an experience! Yes. Yeah.
0:50:24 > 0:50:27At the moment, I'm feeling really scared that we're going to be out.
0:50:27 > 0:50:28I don't want to go out.
0:50:28 > 0:50:30I feel really emotional, actually.
0:50:30 > 0:50:31It's just...
0:50:31 > 0:50:33I really, really want to go through.
0:50:33 > 0:50:35I've got a bit of butterflies. It would be devastating.
0:50:35 > 0:50:37If Paul decided to send us home,
0:50:37 > 0:50:40we would be gutted, because we put so much work into it.
0:50:40 > 0:50:43Each round, the stakes are getting slightly higher
0:50:43 > 0:50:46and the pressure's getting a little bit higher
0:50:46 > 0:50:48and we're getting a little bit closer to the possibility
0:50:48 > 0:50:52that we could win and we could end up playing at Proms In The Park.
0:50:52 > 0:50:56Last up, from Birmingham, it's The People's Orchestra.
0:50:56 > 0:50:58Because where such an unconventional orchestra,
0:50:58 > 0:51:01it really means a lot to us to be still in this contest.
0:51:01 > 0:51:04We've worked so hard to get where we are now
0:51:04 > 0:51:06and I really don't know how I'd feel
0:51:06 > 0:51:08if we didn't get through to the next round.
0:51:08 > 0:51:10You'll be great, I know you will be.
0:51:10 > 0:51:13Hip-hip! ALL: Hurray!
0:51:13 > 0:51:15Paul, People's Orchestra.
0:51:15 > 0:51:17You gave them Toreador from Carmen.
0:51:17 > 0:51:19What are your concerns?
0:51:19 > 0:51:21Well, I just want to play to their strengths,
0:51:21 > 0:51:22like I do for all these orchestras.
0:51:22 > 0:51:25I want them to be able to take something they can do well already
0:51:25 > 0:51:27and do it better.
0:51:27 > 0:51:31It's gritty, it needs to be rhythmically very tight.
0:51:31 > 0:51:33They've still got to have that discipline.
0:51:33 > 0:51:34So much tension.
0:51:36 > 0:51:38(I can see them.)
0:51:41 > 0:51:43Good luck. And enjoy.
0:51:43 > 0:51:44Thank you. OK.
0:51:55 > 0:52:00# Votre toast, je peux vous le rendre
0:52:00 > 0:52:04# Senors, senors, car avec les soldats
0:52:04 > 0:52:06# Oui, les toreros
0:52:06 > 0:52:08# Peuvent s'entendre
0:52:08 > 0:52:12# Pour plaisirs, pour plaisirs, ils ont les combats!
0:52:12 > 0:52:17# Le cirque est plein, c'est jour de fete!
0:52:17 > 0:52:20# Le cirque est plein du haut en bas
0:52:20 > 0:52:23# Les spectateurs
0:52:23 > 0:52:25# Perdant la tete
0:52:25 > 0:52:31# Les spectateurs s'interpellent A grand fracas!
0:52:31 > 0:52:35# Apostrophes, cris et tapage
0:52:35 > 0:52:39# Pousses jusques a la fureur!
0:52:39 > 0:52:43# Car c'est la fete du courage!
0:52:43 > 0:52:47# C'est la fete des gens de coeur!
0:52:47 > 0:52:54# Allons! En garde! Allons! Allons! Ah!
0:52:54 > 0:52:59# Toreador, en garde!
0:52:59 > 0:53:03# Toreador! Toreador!
0:53:03 > 0:53:07# Et songe bien, oui, songe en combattant
0:53:07 > 0:53:12# Qu'un oeil noir te regarde
0:53:12 > 0:53:16# Et que l'amour t'attend, Toreador
0:53:16 > 0:53:19# L'amour, l'amour t'attend!
0:53:19 > 0:53:25# Toreador! Toreador!
0:53:25 > 0:53:32# L'amour t'attend! #
0:53:38 > 0:53:41Well done, everybody. Well done.
0:53:41 > 0:53:42Thank you very much.
0:53:42 > 0:53:44APPLAUSE
0:53:47 > 0:53:49I love this orchestra.
0:53:49 > 0:53:51I love everything that they stand for.
0:53:51 > 0:53:53You know? I really do.
0:53:53 > 0:53:55Do you think they've reached their potential?
0:53:55 > 0:53:57Not with this piece. At the moment.
0:53:57 > 0:53:59No. No. Not at all.
0:54:01 > 0:54:03Now it's completely out of our hands,
0:54:03 > 0:54:06and so I'm nervous because there's nothing much I can do about it.
0:54:06 > 0:54:08I'm just waiting to hear the result.
0:54:08 > 0:54:10Now that all four orchestras have performed,
0:54:10 > 0:54:12Paul must make the tough decision -
0:54:12 > 0:54:15who will stay and who will go?
0:54:15 > 0:54:17You really were impressed by them this week, weren't you?
0:54:17 > 0:54:20I thought they were the most improved of all of the orchestras.
0:54:20 > 0:54:21Did they deliver?
0:54:21 > 0:54:23They were very fiery.
0:54:23 > 0:54:28And that's where things started to go slightly wrong for me.
0:54:28 > 0:54:30Were you happy with their progress, Chi-chi?
0:54:30 > 0:54:32I would have liked to have heard a stronger
0:54:32 > 0:54:35and more even balance amongst the wind.
0:54:35 > 0:54:37They could become a really good section, I think,
0:54:37 > 0:54:40if they all step up together.
0:54:40 > 0:54:41Agreed.
0:54:43 > 0:54:47Waiting for the verdict are representatives from each orchestra.
0:54:47 > 0:54:49The nerves are starting to build.
0:54:49 > 0:54:52We're hoping for the best,
0:54:52 > 0:54:55but it really is in the lap of the gods at this point.
0:54:55 > 0:54:58Looking forward to hearing the feedback, whatever it is,
0:54:58 > 0:55:00and, yeah, we've done everything we can,
0:55:00 > 0:55:04so we just...wait and find out the result.
0:55:04 > 0:55:07If we found out today that we're not going through...
0:55:11 > 0:55:13..I don't really want to think about how it would feel.
0:55:13 > 0:55:16Yes, it's crunch time. If the orchestra don't get it,
0:55:16 > 0:55:18they will be devastated.
0:55:26 > 0:55:28This is of course the difficult moment
0:55:28 > 0:55:33when Paul has to decide who is staying and who is going.
0:55:33 > 0:55:36He's got feedback for you all, so, Paul.
0:55:36 > 0:55:40It's a pretty difficult job, playing for opera,
0:55:40 > 0:55:43and I thought you all did a really great job.
0:55:43 > 0:55:46Stephen. Stirling.
0:55:46 > 0:55:49I remember saying to you that I thought that in this aria,
0:55:49 > 0:55:53Madama Butterfly, you needed to get the orchestra to connect emotionally
0:55:53 > 0:55:55to every single note, and you did it.
0:55:55 > 0:55:58But towards the end,
0:55:58 > 0:56:00at the climax,
0:56:00 > 0:56:02the orchestra slightly loses control.
0:56:04 > 0:56:07Emma. North Devon Sinfonia.
0:56:07 > 0:56:10We talked a lot about the wind solos, didn't we, at the beginning?
0:56:10 > 0:56:12And I think you did a great job.
0:56:12 > 0:56:14That little cello slip,
0:56:14 > 0:56:18it matters not a bit, as long as they just carried on.
0:56:18 > 0:56:20Chris, London Gay Symphony Orchestra.
0:56:20 > 0:56:22The one thing that was missing before, for me,
0:56:22 > 0:56:25was a kind of emotional confidence.
0:56:25 > 0:56:28I thought today they kind of just pushed the door open for...
0:56:28 > 0:56:29"Oh, we can enjoy ourselves."
0:56:29 > 0:56:33So I'm hoping it's not just a one-off.
0:56:33 > 0:56:36And The People's Orchestra, Dan, really well done.
0:56:36 > 0:56:38This aria has to be athletic.
0:56:38 > 0:56:41They were very athletic.
0:56:41 > 0:56:43I have one but.
0:56:43 > 0:56:46The tempo was a little bit rushed.
0:56:46 > 0:56:50It wasn't as precise and as crisp as I'm sure it could be.
0:56:51 > 0:56:55So, I do have to decide, nevertheless,
0:56:55 > 0:57:01that one orchestra will not be continuing to the next round.
0:57:03 > 0:57:07And I'm very sorry to say that that orchestra will be...
0:57:12 > 0:57:14..The People's Orchestra.
0:57:15 > 0:57:17Dan, I'm really sorry.
0:57:17 > 0:57:20It's been a great pleasure to have you on board,
0:57:20 > 0:57:22and you've gone so far in this.
0:57:22 > 0:57:23Really, really well done.
0:57:23 > 0:57:25Sarah, thanks very much.
0:57:25 > 0:57:26Not a problem. You're a fantastic bunch.
0:57:26 > 0:57:28Thanks a lot. Thank you.
0:57:29 > 0:57:32He remarked that we didn't focus on the precision
0:57:32 > 0:57:37as much as he wanted.
0:57:37 > 0:57:38He said some amazing things.
0:57:38 > 0:57:40He said he really liked the spirit of the orchestra,
0:57:40 > 0:57:42which is what we're all about, isn't it?
0:57:42 > 0:57:44Yes.
0:57:44 > 0:57:46I'm really sad to see The People's Orchestra go.
0:57:46 > 0:57:48I think they've got so much to be proud of.
0:57:48 > 0:57:49To have got to this round,
0:57:49 > 0:57:52I think they've got a lot to hold their heads up about.
0:57:52 > 0:57:55I love that orchestra. They're such a great orchestra.
0:57:55 > 0:57:57They stand for everything that is great about amateur music-making
0:57:57 > 0:57:59and they have been so good,
0:57:59 > 0:58:02but in those two minutes, the one thing that let them down
0:58:02 > 0:58:04was the thing that we asked for,
0:58:04 > 0:58:06and that precision, that rhythmical position,
0:58:06 > 0:58:10which they're very capable of, they didn't deliver it.
0:58:10 > 0:58:11We got through.
0:58:11 > 0:58:13CHEERING OVER PHONE
0:58:13 > 0:58:16Well, cancel your summer holidays. We're through.
0:58:16 > 0:58:19CHEERING
0:58:20 > 0:58:23This is the result of the Manchester jury.
0:58:23 > 0:58:26'I'm sorry to tell everybody that we are through...'
0:58:26 > 0:58:27CHEERING
0:58:30 > 0:58:34Next time, the orchestras tackle the concerto
0:58:34 > 0:58:36and choose a soloist from their ranks.
0:58:36 > 0:58:39It's crunch time now. You've got to make a decision.
0:58:39 > 0:58:42They'll be playing to a home crowd,
0:58:42 > 0:58:44but now the contest is getting personal...
0:58:44 > 0:58:47We're not quite on it, he's not quite on it,
0:58:47 > 0:58:48and the result is carnage.
0:58:48 > 0:58:51..as they battle it out for a place in the final.
0:58:51 > 0:58:54The one orchestra that's not going to go forward is...