Royal Albert Hall, LondonYannick Nézet-Séguin polished up the Rosenkavalier suite then gave an exceptional reading of the composer’s self-congratulatory tone poem, while Elza van den Heever delivered a visceral account of Salome’s final sceneArtistically ambitious and with an ego the size of a small planet, Richard Strauss was rarely backwards in coming forwards. When quizzed about the wisdom of depicting his 34-year-old self in music he brushed the matter aside, declaring himself no less interesting than Napoleon. The work in question, the self-congratulatory yet brilliantly conceived tone poem Ein Heldenleben, formed the second half of this all-Strauss programme. Before that, the Met Orchestra, here making their Proms debut, stayed on home turf with music from the operas.The Rosenkavalier suite, compiled by hand unknown, is frankly a mess, lurching from one bonbon to the next with never a thought for musical logic (the overblown ending is truly crass). Yannick Nézet-Séguin did a decent job of papering over the cracks, letting the music unfold naturally rather than forcing its ham-fisted transitions. The love scenes were the highlight here, the orchestra spacious and shapely. If the heart didn’t leap as it might, it was likely due to the absence of the human voice. Continue reading...