:00:27. > :00:30.Tonight, it's all about the harmonies as Beethoven shares
:00:31. > :00:32.centre stage with Ella Fitzgerald and Dizzy Gillespie
:00:33. > :01:02.And across the week the Proms was buzzing.
:01:03. > :02:15.And that's all in South Kensington, London.
:02:16. > :02:18.Here in our studio with me tonight, I have three guests who I expect
:02:19. > :02:22.I have soprano Ailish Tynan, the choral director Ken Burton,
:02:23. > :02:25.and the opera tenor and Proms 2017 star Stuart Skelton.
:02:26. > :02:40.I know a lot of you make a lot of effort to get here. More of that in
:02:41. > :02:46.a minute. Ailish, we last met a year ago and much has changed.
:02:47. > :02:49.Congratulations on little Daisy. I actually was pregnant on the last
:02:50. > :02:56.show but I wasn't telling anybody yet! And here she is. What a
:02:57. > :03:00.sweetie. She got her first tooth, with only realised downstairs. So
:03:01. > :03:08.we'll forget this day. Congratulations. Ken, you took part
:03:09. > :03:14.in the gospel Prom last year. Never happier than when you are here. You
:03:15. > :03:22.also took a special session before the singers in the Ella and Dizzy
:03:23. > :03:24.event. We did, and members of the public, those who consider
:03:25. > :03:28.themselves singers and those who don't, they came and had the
:03:29. > :03:37.opportunity of learning a number of Ella Fitzgerald pieces, and a bit of
:03:38. > :03:43.technique, so I produced a few Ellas and Eltons. It looked huge fun.
:03:44. > :03:47.Stuart, we saw a lot about your life, your progression and your
:03:48. > :03:51.singing of Fidelio last week. Your last shot was your taking Proms
:03:52. > :03:57.Extra off into the night, and what happened next? Lee I don't recall.
:03:58. > :04:05.It all goes hazy! You have flown into this. It's a pleasure to be
:04:06. > :04:11.here. And I be singing later. Is there anything you can't do? Yet! I
:04:12. > :04:12.hope you'll enjoy the next half hour or so and be yourselves, have fun.
:04:13. > :04:15.Well, have some fun and be yourselves, as we start
:04:16. > :04:17.with Beethoven's best known choral work, the 9th Symphony.
:04:18. > :04:22.Now, Ailish, you performed this at the Proms back in 2013.
:04:23. > :04:33.A good while ago. What about that makes it speak and resonate? It's
:04:34. > :04:37.the energy, you're just in your chair, waiting to jump up and join
:04:38. > :04:41.in, because the solos are so little to do and you have to wait until the
:04:42. > :04:45.end, and it's an energy, the whole thing. If I could put it into words,
:04:46. > :04:49.I'd be as clever as Beethoven and I'd probably be sitting in a jet,
:04:50. > :04:53.flying over, I'd be so rich and famous! It's the energy of it, I
:04:54. > :04:54.feel. That's what gets me. Here's an excerpt from
:04:55. > :04:56.Beethoven's 9th Symphony, MUSIC: Symphony No.9, "Choral"
:04:57. > :05:46.by Ludwig van Beethoven Last week's sofa guest
:05:47. > :05:48.Xian Zhang conducting the BBC National Orchestra and Chorus
:05:49. > :05:50.of Wales and CBSO Chorus in Beethoven's last complete
:05:51. > :06:05.symphony, his 9th. So wonderful scene that, Stuart. At
:06:06. > :06:07.choral element. But that was towards the end. It comes at the end of an
:06:08. > :06:14.extraordinary symphony. It really is. One thing that sets the 9th
:06:15. > :06:19.Symphony apart is that choral element that you don't have been any
:06:20. > :06:23.symphony preceding it. But it is, and as Ailish was saying, there is
:06:24. > :06:30.this incredible fitting energy to it. When these wonderful thematic
:06:31. > :06:34.developments happen in the fourth movement, with the constant
:06:35. > :06:42.repetition and slight variations of that wonderful theme, you can't help
:06:43. > :06:46.but want to jump up and join in. It really is remarkable. My heart did
:06:47. > :06:56.saw a bit when I saw the cast, out on stage. Absolutely. I thought, we
:06:57. > :07:02.are in for a treat. It's an incredible piece, it. What is it
:07:03. > :07:06.that makes this piece by Beethoven, almost what's been described as a
:07:07. > :07:13.hymn, the end particularly, what makes it so powerful? It's quite
:07:14. > :07:17.definitive, like an autobiography. Beethoven is pouring himself into
:07:18. > :07:24.this symphony, like he does into so much of his works. This idea, which
:07:25. > :07:27.I think was brewing over a period of 12 years, which you put together to
:07:28. > :07:33.produce this, and I think the palpable thing about this is, of
:07:34. > :07:38.course, it's him right at the end, which is this ode to freedom, an ode
:07:39. > :07:42.to Joy. A lot of the music which I do, I do right across the board,
:07:43. > :07:47.sacred music, a lot of it is gospel music, and in gospel we want to come
:07:48. > :07:51.to the heart of the music, the meaning, and a lot of gospel themes
:07:52. > :07:55.are about freedom and joy and expressing yourself. It takes you
:07:56. > :07:59.through a roller-coaster of emotions. You don't know what's
:08:00. > :08:05.coming next in the twists and turns. All of a sudden, something different
:08:06. > :08:08.happens, and you are taken on a massive, energetic ride, especially
:08:09. > :08:14.towards the end. I listen and I get caught up spiritually when I hear
:08:15. > :08:19.this music. I know that Beethoven is a favourite of yours. There is a
:08:20. > :08:24.story about when you are a small boy... Yes, I went on holiday with a
:08:25. > :08:27.friend and my parents gave me some spending money and, rather than
:08:28. > :08:33.bringing back souvenirs or rock, I went to a second-hand shop and I saw
:08:34. > :08:41.a Beethoven piano Concerto record, vinyl, telling my age, and went home
:08:42. > :08:46.and resident -- listened to that and nearly wore it out. Probably seven
:08:47. > :08:52.or eight at the time. That's a great story. You were one classy kid!
:08:53. > :08:55.Let's go back to that ode to Joy, so well-known, we all know it and you
:08:56. > :09:01.can sing along, and that's almost part of the point. It's quite a
:09:02. > :09:05.simple tune. It is, but you can't think, why is it so famous, and you
:09:06. > :09:12.couldn't put it into words. It's the that is Beethoven. You know,
:09:13. > :09:15.especially, when Simon Tansley came out, I thought, we are in for a
:09:16. > :09:23.treat. I wouldn't like to see Yewtree on a night out! We predate
:09:24. > :09:31.social media. -- I wouldn't like to see you two. My husband has bought
:09:32. > :09:36.Simon O'Neill a tube because he used to play the tuba. He bought it on
:09:37. > :09:41.Christmas Day for him on a website. You bid for things on it. He was
:09:42. > :09:48.lucky because he proposed the night before and there would have been big
:09:49. > :09:53.trouble if he was buying tubers! Simon, get that out of my cell! I
:09:54. > :09:56.want rid of it! You paint this picture of your life which is more
:09:57. > :10:02.and more fabulous. Shall we see a bit more of... Well, if you want to
:10:03. > :10:03.revisit it, you can go to the iPlayer and sing along to your
:10:04. > :10:04.hearts content. But we're not done with Beethoven's
:10:05. > :10:07.9th Symphony just yet as our resident musicologist,
:10:08. > :10:09.David Owen Norris, explains why Beethoven is playing a waiting game
:10:10. > :10:28.in tonight's Chord of the Week. The Chord of the Week is D major.
:10:29. > :10:34.Play a perfect cadence, the base does this, and we have all three
:10:35. > :10:38.notes. But, in his 9th Symphony, Beethoven has a special jump for
:10:39. > :10:42.that cadence, so he avoids using it until well into the fourth movement.
:10:43. > :10:48.There are plenty of places where they might have been a perfect
:10:49. > :10:55.cadence in Lee, but instead -- in D, but instead the bass just trickles
:10:56. > :11:01.down, or the bass is all right but there are only two notes in the.
:11:02. > :11:06.There is even one place where the third is permitted. At last, we hear
:11:07. > :11:08.the famous ode to Joy theme in D major. Perfect cadence is here. What
:11:09. > :11:27.about this baseline? No, how perverse. Or this one. No.
:11:28. > :11:29.This has to be deliberate. It isn't until 166 bars into the last
:11:30. > :11:42.movement that we get our first proper, perfect cadence in D major.
:11:43. > :11:47.So, what's special about bar 166? Well, it's here that Beethoven makes
:11:48. > :11:55.his tune fit the words, just in time for the singers. So far, we've had
:11:56. > :12:02.long notes. But, to fit the words, that you need a different rhythm,
:12:03. > :12:10.two syllables. Not... At two syllables. And it's this first full
:12:11. > :12:12.perfect cadence that shakes the tune into the repeated note rhythm that
:12:13. > :12:26.Beethoven needs to let the words in. David Owen Norris returns next week
:12:27. > :12:45.with more chordial activity and a bit of gingham,
:12:46. > :12:48.we hope, as he explores Oklahoma! Now I'm with my guests,
:12:49. > :12:50.Ailish Tynan, Ken Burton, We've had Beethoven's greatest hymn
:12:51. > :12:53.to humanity and now we're having an extra slice of Beethoven
:12:54. > :12:56.with his only opera, Fidelio, which featured
:12:57. > :13:14.a certain Stuart Skelton. You can tell us all about it. It's a
:13:15. > :13:19.rescue opera. Fidelio is the character assumed by Leonora, and
:13:20. > :13:24.she plays a boy, it's a travesty role. Her husband has been
:13:25. > :13:30.wrongfully imprisoned by the governor of the prison. And she has
:13:31. > :13:37.started work or assumed a job at the prison as the assistant to the
:13:38. > :13:43.jailer as a young chap Fidelio in the hope she might find that this is
:13:44. > :13:46.the prison where a husband, Florestine, is imprisoned. It turns
:13:47. > :13:51.out, because there is only joined a half hours of opera, it is the exact
:13:52. > :14:00.prison where he happens to be in the dungeon, and it ends well and she
:14:01. > :14:05.resumed -- she reveals herself to be Florestine's wife, and it's all a
:14:06. > :14:06.big happy ending. In opera, that doesn't often happen, so we are
:14:07. > :14:08.thankful for that! Shown last Sunday on BBC Four,
:14:09. > :15:14.here's Stuart in action. The BBC Philharmonic conducted
:15:15. > :15:21.by Juanjo Mena and we saw Who would have thought an opera set
:15:22. > :15:30.in a Spanish prison back in the 18th Ken, it was Beethoven's only opera,
:15:31. > :15:33.is it a tragic loss it was the only one he wrote? I don't believe it's a
:15:34. > :15:37.tragic loss, he poured his heart and soul into this. In fact, in a letter
:15:38. > :15:41.he wrote apparently he said, I will gain my martyr's Crown having
:15:42. > :15:47.written this opera. And in a sense it wasn't the only opera he wrote,
:15:48. > :15:52.because he actually wrote four overtures to this. But I think
:15:53. > :15:57.sometimes when it's the only one you have written, this is like a sort of
:15:58. > :16:02.Martin Luther King moment. There is a value sometimes when it's the only
:16:03. > :16:07.one. I think he puts so much into it, it was premiered I believe
:16:08. > :16:12.around about 1804, about the final version, which he was satisfied
:16:13. > :16:18.with, like a decade later, and that's the verse we have now. So I
:16:19. > :16:21.think really the fact that it's his powerful statement, I believe, the
:16:22. > :16:25.fact that it's the only one it gives it more value. Can't improve on
:16:26. > :16:30.perfection I guess. Let's talk about something that I
:16:31. > :16:34.often wonder about at the Proms and we hear a concert performance like
:16:35. > :16:38.that, how is it as a singer preferable in some ways? It's
:16:39. > :16:42.interesting, I read reviews on this particular opera and I was surprised
:16:43. > :16:47.that it hadn't done better in the reviews. There was rave reviews for
:16:48. > :16:51.the singing which was - I listened to it myself, I thought, this is
:16:52. > :16:54.before I knew I was coming on the programme, I thought this is
:16:55. > :17:01.wonderful singing. Everyone has it MEP riced. I thought why --
:17:02. > :17:05.memorised. I thought why has it got a lukewarm response? The singers,
:17:06. > :17:10.there were rave reviews as it should be. I thought maybe it's because,
:17:11. > :17:17.for example, in your first entry, that got maybe we are used to seeing
:17:18. > :17:23.it coming from this dark pit of a stage. Maybe something like Fidelio
:17:24. > :17:27.needs to be staged for it really to enter our imaginations and grip our
:17:28. > :17:32.souls. I don't know, I couldn't... Because I thought the orchestral
:17:33. > :17:36.playing was fantastically tight. The very first line he sings is, God how
:17:37. > :17:40.dark it is here, if that voice, whoever is singing it, if that comes
:17:41. > :17:48.out of a completely dark stage and we only hear the voice first, and
:17:49. > :17:51.then the stage gradually gets light, I think... Mind you, if you are
:17:52. > :17:59.going to hear it in daylight you would want it sung by you, that's
:18:00. > :18:03.for sure! I listened to it with headphones and seeing the words and
:18:04. > :18:08.I like to go into the engine room, what I call the engine room of music
:18:09. > :18:12.and like to hear what's going on within the orchestrations, how that
:18:13. > :18:16.ties in with the words and ties in with the sentiment, which Beethoven
:18:17. > :18:24.is trying to put across. For me it was actually a two-hour spiritual
:18:25. > :18:28.experience for me watching it. That setting, rather than opera, it was a
:18:29. > :18:35.conductor who said after a performance I think in Berlin, that
:18:36. > :18:38.this piece falls into the sphere of the sacred, rather than theatrical
:18:39. > :18:43.and there's so much in it that draws from the soul and there is a lot of
:18:44. > :18:47.that, for me, I saw a lot of parallels. It's a story of going
:18:48. > :18:53.into the deep pit and lifting somebody out of that and rescuing
:18:54. > :18:58.and saving them. So much of it is a prayer and so much devotion in this,
:18:59. > :19:01.so it's very powerful. To sing in that setting was very different from
:19:02. > :19:05.how I remember it 20 years ago when I came across the piece, it's a
:19:06. > :19:10.different dynamic. The other thing is that all these people, when you
:19:11. > :19:13.rehearse an opera, you are in a room for weeks and build relationships
:19:14. > :19:15.with the people and with the orchestra and the conductor and
:19:16. > :19:21.everything else, it's a long process. Whereas when the Prom is
:19:22. > :19:29.put together you are in a luxury if you get six rehearsals, let alone
:19:30. > :19:33.six weeks. I thought of one that actually Bryn and Lisa did with the
:19:34. > :19:36.Royal Opera House and it blazed, I thought they were going to rip each
:19:37. > :19:41.other's clothes off at the end of it. That was a concert performance?
:19:42. > :19:46.It had a concert performance that had come from an opera rehearsal,
:19:47. > :19:49.that had just done that at Covent Garden and all those months of
:19:50. > :19:52.rehearsals and maybe that makes a difference. It's interesting picking
:19:53. > :19:57.up on what you were saying earlier about reviews. Stuart, I would love
:19:58. > :20:01.to know how you feel as a performer, not asking you int specific reviews
:20:02. > :20:05.for this performance, but it's so subjective. Yet, there are critics
:20:06. > :20:11.out there who write and are read by tens of thousands of people and how
:20:12. > :20:15.do you feel about that? Well, you know, the difficult thing with all
:20:16. > :20:18.critics, or criticism in general for singers, is that we remember every
:20:19. > :20:23.word of the bad ones. And not one word of the good ones. If you
:20:24. > :20:28.believe the good ones, you have to believe the bad ones. But I avoid
:20:29. > :20:32.the worst of it by not reading any reviews until the entire run of a
:20:33. > :20:37.series of performances is done. That's sensible. It can mess with
:20:38. > :20:42.your brain. If you read them during the run of something you might just
:20:43. > :20:45.be tempted to try and satisfy something they picked out and then,
:20:46. > :20:49.I don't know, I think it's a dangerous thing. I leave them all at
:20:50. > :20:56.the end and read them all, good, bad and the ugly. Look, you know, they
:20:57. > :21:01.serve a wonderful purpose and particularly critics who write
:21:02. > :21:06.beautifully. That's something that London has, that not everywhere else
:21:07. > :21:12.does, the well-known, they write beautifully as well, that's an
:21:13. > :21:16.important thing they do. You can't possibly expect that everyone will
:21:17. > :21:22.like every performance you ever do. Then you read something ridiculous,
:21:23. > :21:26.like the woman who sang there, a superb singer, one reviewer said, it
:21:27. > :21:32.was a pity she didn't wear a trouser suit. You think, what? In the world
:21:33. > :21:35.of social media and when you have been in the hall that night with
:21:36. > :21:37.6,000 people, the public loved it. That's what I was listening out for,
:21:38. > :21:41.the applause. If you like a bit of injustice,
:21:42. > :21:43.deception and unrequited love in your operas,
:21:44. > :21:46.then head to the BBC iPlayer where you will find Beethoven's Fidelio
:21:47. > :21:48.and judge for yourself. Talking of voices, Stuart Skelton
:21:49. > :21:51.will be singing at the end of tonight's show and,
:21:52. > :21:53.as we're all about the sounds on Proms Extra, last night
:21:54. > :21:57.on BBC Four the Proms paid a special tribute to two icons
:21:58. > :21:59.of jazz and bebop history, Ella Fitzgerald and Dizzie
:22:00. > :23:04.Gillespie. That was a taste of the Proms
:23:05. > :23:07.centenary tribute to Ella Fitzgerald Accompanied by the BBC
:23:08. > :23:10.Concert Orchestra, conducted by John Mauceri, you heard the voice
:23:11. > :23:13.of Dianne Reeves with the spirit of Dizzy as channelled
:23:14. > :23:22.by the trumpeter, James Morrison. Look at them, that was 1947 when the
:23:23. > :23:26.two of them played a famous concert together. I mean, there was so much
:23:27. > :23:32.joy in the Royal Albert Hall during that Prom. Ken, what was it about
:23:33. > :23:41.Ella Fitzgerald's voice that captivated the world? It was a clear
:23:42. > :23:46.voice, clear intonation. Clear elocution, clear tone. These were
:23:47. > :23:52.the days, remember, there was no help from production. Nowadays we
:23:53. > :23:57.have all sorts of things, dynamics processing, compression, things that
:23:58. > :24:01.can make your voice sound clear, you have famous autotune. But Ella was
:24:02. > :24:09.singing on point and you could hear every word. She also had the ability
:24:10. > :24:16.to really tell the story. And her voice was flexible as well, she had
:24:17. > :24:22.a three objecting taf range and had that captivating voice -- octave.
:24:23. > :24:27.She suffered racism in her time, but the voice was appreciated by anybody
:24:28. > :24:31.and it's the standard by which many singers judge their music and it's a
:24:32. > :24:35.standard by which they want to aspire to sing like that or have
:24:36. > :24:47.that same impact even if they don't have the same voice. Ailish, we
:24:48. > :24:51.heard Ella's famous song sung by a wonderful jazz diva, Dianne Reeves.
:24:52. > :24:54.One hesitates to compare the voices. Ella, everybody knows her name, she
:24:55. > :24:58.was unique. That was what made her so special. Nobody can ever emulate
:24:59. > :25:03.that. It's exactly what you were saying, Ken, all the things Ken
:25:04. > :25:07.said, they're what made her sublime. Dianne voice was different, heavier
:25:08. > :25:13.on the bottom, but in that last clip, I felt she came into her own
:25:14. > :25:19.in the second half, the fascinating rhythm that you played. She's being
:25:20. > :25:33.herself and is a phenomenal singer. She popped out a top G there, here
:25:34. > :25:36.she is standing beside James Morrison, and she was like, oh, you
:25:37. > :25:40.are not going to get the better of me. I think he would have got the
:25:41. > :25:49.better of me, that's for sure. She sang a top G there. Popped that out.
:25:50. > :25:59.And it was clearly loving it. Somebody described that performance
:26:00. > :26:05.as a skat smackdown. I want to ask you singers, skat, the jazz
:26:06. > :26:11.vocalising impro- is there a classical equivalent? Gosh... I
:26:12. > :26:20.don't think so. Singing with bad diction. I guess the closest you
:26:21. > :26:26.would go is in a lot of the Handle repertoire, you are expected to
:26:27. > :26:29.embellish and come up with your own ornamentation for it, but that's
:26:30. > :26:35.planned ahead. I don't think there is anything we really get that sort
:26:36. > :26:40.of opportunity to do what both Gillespie and Ella, one of the
:26:41. > :26:44.things I thought they both brought to their artistry, they were
:26:45. > :26:50.spectacularly good in improvising and Gillespie particularly was one
:26:51. > :26:54.of the great things, the way he could improvise and just go for
:26:55. > :26:57.minutes and minutes and minutes. And never run out of invention. Dizzy
:26:58. > :27:03.himself said James Morrison was one of the best, as well. An amazing
:27:04. > :27:13.tribute. James was fabulous. You performed with him, Stuart. I did, a
:27:14. > :27:18.long time ago, Theatre Awards in Australia, I think they were named
:27:19. > :27:30.after an Australian early pioneer of Australian theatre, Mo. There was an
:27:31. > :27:33.arrangement for a large band with a tenor soloist and James Morrison
:27:34. > :27:37.trumpet. I was on stage with James Morrison. I was like a kid. He is my
:27:38. > :27:41.absolute hero. I have been listening to he and his brother and some of
:27:42. > :27:47.the work they've been doing for as long as I can remember Did you
:27:48. > :27:53.manage to squeeze in a top G? I did not. Next time! The only thing about
:27:54. > :27:57.this sort of tribute Prom is when you have characters like Ella and
:27:58. > :28:00.Dizzy, what do you put in and leave out? You can't satisfy anyone, do
:28:01. > :28:08.you think they got it right? It's difficult. I mean, when Ella was
:28:09. > :28:13.under Verve Records, set up for her to record The Great American
:28:14. > :28:17.Songbook, and a Prom is not long enough to fit a fraction of that.
:28:18. > :28:20.Everybody has their favourites. You are always going to have somebody
:28:21. > :28:26.say you didn't sing that and the neck person will say you didn't sing
:28:27. > :28:30.that. -- next person. I thought it went on, probably in the film you
:28:31. > :28:32.would have heard a minute-and-a-half, I thought oh. We
:28:33. > :28:36.did have absolute gems. We did. For the complete Proms concert
:28:37. > :28:38.tribute honouring Ella and Dizzy, you know where I'm
:28:39. > :28:40.going to direct you. Yes, that's right, the BBC iPlayer,
:28:41. > :28:43.and you can watch the talent displayed by Dianne Reeves
:28:44. > :28:45.and James Morrison's cheeky trumpet, Well, in addition to the packed-out
:28:46. > :28:49.concert last night there was an event that took place earlier
:28:50. > :28:52.in the day which was for those wanting to sing
:28:53. > :28:54.like Ella, led by Ken. Proms Extra went to meet one
:28:55. > :29:14.of the amateur choirs taking part. I have a jukebox in my head, I don't
:29:15. > :29:19.know where that's from. It sort of reminds me of who I am a lot. As an
:29:20. > :29:24.artist I enjoy painting but I get more of a buzz through singing. It's
:29:25. > :29:29.been a great social benefit to my life. And it helps structure my
:29:30. > :29:36.week. Even if I am having a bad day I think I have choir to look forward
:29:37. > :29:39.to in the evening. People that come to the choir, we have all sorts,
:29:40. > :29:42.people diagnosed with mental illnesses, people who have been
:29:43. > :29:47.caring for people with mental illnesses, friends and family, it's
:29:48. > :29:52.all about coming together, building relationships, being able to lose
:29:53. > :29:56.that stigma, lose the isolation and gain some confidence. And just have
:29:57. > :30:07.some fun doing it. Perfection is not on the menu.
:30:08. > :30:11.When my marriage broke up I basically was completely lost. I
:30:12. > :30:16.would go from thinking I am either lazy or mentally ill and the truth
:30:17. > :30:21.is none of that applies. I am just someone that struggles.
:30:22. > :30:25.When I joined the choir, it was mainly because there were so many
:30:26. > :30:37.good cakes! I was at a very low ebb. I was so
:30:38. > :30:47.sort of... I couldn't express myself at all. I was very introverted. And
:30:48. > :30:51.it was as if I needed to cry, but I couldn't cry, and the lady next to
:30:52. > :30:56.me, Carol, she put her arm around me. I'd never met her in my life,
:30:57. > :31:00.and I don't even know why she did that. I wasn't speaking. I was just
:31:01. > :31:09.there. She must have sensed something. But it was like an
:31:10. > :31:14.amazing release. We are more than just a quiet. We are on our way to
:31:15. > :31:17.the optical to see the Ella Fitzgerald Centenary Prom and,
:31:18. > :31:20.before that, there's a public sing along with Ken Burton, the
:31:21. > :31:25.conductor, we're going to sing some fantastic Ella Fitzgerald songs. --
:31:26. > :31:31.we are on our way to the Albert Hall. It's a great chance to let in.
:31:32. > :31:41.OK, we're going to cheat. We're going to change it. I'm going to try
:31:42. > :31:49.and say, speak, saying, speak the # I can hardly speak!
:31:50. > :31:57.OK, together... # I can hardly speak...
:31:58. > :32:00.The guy that was taking it was really getting people in the spirit
:32:01. > :32:07.and I found I was really getting to move with the music and it was quite
:32:08. > :32:12.exciting. We are amongst equals. There is no discrimination or
:32:13. > :32:17.distinction, there is no noticing whether somebody has been in a choir
:32:18. > :32:22.for 150 years or they have just sung today for the first time. Everybody
:32:23. > :32:28.is singing their hearts out. I loved it. I just feel thrilled to be here.
:32:29. > :32:45.# Embrace me # You irreplaceable you ...
:32:46. > :32:55.Spectacular. It was a wonderful experience. One word, the inspiring.
:32:56. > :33:06.An amazing day. -- one word, pretty inspiring.
:33:07. > :33:09.The transformative power of music in display there.
:33:10. > :33:12.The sofa has been reduced to just two guests, because Stuart Skelton
:33:13. > :33:15.is getting ready to perform for us at the end of the show.
:33:16. > :33:27.Ken, pretty heart-warming, lump in the throat stuff, seen the effect
:33:28. > :33:32.your work had on the members of the group you are teaching yesterday.
:33:33. > :33:37.Yes, there is something about singing which is like no other
:33:38. > :33:42.activity. I think it's because, when we are born, we are born singing.
:33:43. > :33:46.She has two singers in the house, doing a full-time opera. A baby will
:33:47. > :33:49.cry for voice, and then it will do the same thing tomorrow and not
:33:50. > :33:57.complain about a sore throat. Evening! I should be so lucky! I'll
:33:58. > :34:00.have to tell her that immediately. If you think about the most extreme
:34:01. > :34:04.ways in which we express ourselves, it's the connection of the diaphragm
:34:05. > :34:09.to the abdominal muscles with the vocal chords and, when we want to
:34:10. > :34:17.express ourselves as something funny, I can just say ha-ha or
:34:18. > :34:20.whatever. Just sounds, elongated sounds, and that connects with the
:34:21. > :34:26.voice and this. It gives so much expression. When we are singing, we
:34:27. > :34:29.are doing the same thing, so it's an outpouring of the soul, because you
:34:30. > :34:33.are doing the same thing when you cry. When you're young and you are
:34:34. > :34:39.going, I'm hungry, it's the same the same muscles. I often think that,
:34:40. > :34:44.somebody like you, you have the best job in the world and you get to see
:34:45. > :34:47.the faces and the joy you are bringing to people in the audience.
:34:48. > :34:52.Are used to think, I should have done some useful, being a brain
:34:53. > :34:58.surgeon, but the more I see it in the faces of people, the man on the
:34:59. > :34:59.clip who was mesmerised, I just think, that's the power of music.
:35:00. > :35:01.You couldn't have put it better. Do go ahead to the iPlayer where,
:35:02. > :35:06.you will find Beethoven's Fidelio, his Choral Symphony,
:35:07. > :35:08.plus the tribute to Ella and Dizzy Besides the iPlayer,
:35:09. > :35:11.you can get further Proms takeout from the Proms website,
:35:12. > :35:14.every concert is broadcast live All that remains now is for me
:35:15. > :35:20.to thank Ailish Tynan Join me next week, where gingham
:35:21. > :35:25.and the elixir of youth is the order of the night,
:35:26. > :35:27.as we're talking about Oklahoma and the National Youth
:35:28. > :35:29.Orchestra of Great Britain. NYO is on tomorrow evening
:35:30. > :35:31.and Oklahoma is next But right now, l'll leave
:35:32. > :35:35.you with You Are My Heart's Delight, from the operetta The Land Of Smiles
:35:36. > :35:40.by Franz Lehar. Accompanied by Kate Golla,
:35:41. > :35:42.here is Proms Extra # That dreams of mine
:35:43. > :36:43.may at last come true # And I shall hear you
:36:44. > :36:58.whisper, "I love you" # And 'neath a magic spell
:36:59. > :37:13.hath bound me # A wondrous air
:37:14. > :37:30.is your beautiful hair # Bright as a summer sky
:37:31. > :37:44.is the night in your eyes # Soft as a sparkling star
:37:45. > :38:00.is the warmth of my love # That dreams of mine
:38:01. > :38:47.may at last come true # And I shall hear you whisper,
:38:48. > :38:58."I love you". #