Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.
The unexpected intimacy that performers like Alina Ibragimova can achieve in a space as vast as the Royal Albert Hall is truly breathtaking.
Debussy's Petite suite, Mozart's Piano Concerto No 22 and Shostakovich's 15th Symphony at the Proms.
Fortunately, there was more to this programme than just a lot of TV adaptation soundtracks.
“The play’s the thing”, except in this case, it isn’t.
120 years since the first Prom concert, we travel back to a troubled year of musical innovation.
The American composer wins over a sceptical NS critic.
Plus a surpise encore of the fourth of Philip Glass’s Four Movements for Two Pianos.
Valery Gergiev and the London Symphony Orchestra's rendition of all five Prokofiev piano concertos in one programme has divided critics: is it a gimmick, or a masterstroke?
The real revelation of the evening was the BBC National Chorus of Wales - it's a shame we won't be hearing from them again this season.
An image of elitism still hovers around classical music - but the Proms have a democratic history that ought to be celebrated.
No country has ever left the EU before, so there's no map for where we're going.
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