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The lights went out in the arena. And there he was, fully lit central on the stage, Leendert Haaksma, the brand new guitar player of the Electric Band; the rock solid guitar solo faded into a modern Also sprach Zarathustra and the medley, composed by Dominique Van Haegenberg, of the biggest hits of the evening. Geert and Bjorn let their light show down on the arena for the first time and the audience was caught immediately.

The tone was there: lot of energy seemed to be invested to let the show look different compared to previous editions; even with the different artists, the rest isn’t the same either. The new multi-functional stage is a direct hit and gives the light show lots of extra possibilities. The artists seem they have some difficulties with the stairs in the center of the stage, but for the rest it’s ok. In the center of the stage, there’s an elevator for the piano. The stage has one disadvantage: between Robert Groslot and the audience, there are a few feet of stage that the artists have to fill up, added on top of the catwalk. That’s a big distance and the artists seem to get Jan’s instructions very well to walk through the whole arena, but only Grace Jones, seemed to be used to it.

New classical music

This edition, there is also a big difference in the new classical, and somewhat unknown, music. From the ten pieces, four were already played in previous editions, and even then: for Tchaikovsky’s Capriccio Italiano we have to go back to the edition of 1997, and for the Czardas of Monti to 2007. Those who are saying that NOTP is the same every year, isn’t really listening.

Charlie Siem brought and emphasized Summer of Vivaldi, after he showed his fantastic techniques at Paganini’s Caprices. The Wedding March of Mendelsohn was the perfect piece to project some wedding photo’s with lots of reaction in the arena.

Surprising, but much appreciated, was the Overture of Carl Maria von Weber’s opera Abu Hassan, pointed out by Robert Groslot, where the lyrics were sung of the poem that Gaius Valerius Catullus (84-54 B.C) wrote for his lover Lesbia:

Odi et amo. Quare id faciam, fortasse requiris.
nescio, sed fieri sentio et excrucior.

or

I hate and I love. Wherefore would I do this, perhaps you ask?
I do not know. But I feel that it happens and I am tortured.

Fine Fleur sang with much passion. The achievement of the choir was much appreciated by the audience; technically there were no issues, but we ask the question why the choir couldn’t participate more clearly in the show, instead of to be used more as background or guidance. Abu Hassan gave the choir all credit.

Charlie Siem

Aged 24 years, Charlie Siem is standing on stage as he’s playing every week for 16 000 men. His wonderful technique clearly gives him the confidence to not only bring the classical pieces but also play the lighter pop pieces with respect. A piece like Estralita (the little star) of Manuel Ponce, the favorite piece of his great-grand-mother, can easily be played to bring in a supermarket, but with Charlie it remains convincing.

His young looks make him as desirable as James Dean, a role he played without a problem in Czardas (Monti) where he received a red rose of Patrick De Smet which he handed to his audience.

Lost voice, but everlasting hits

Of course, Boy George isn’t physically the same as twenty years ago, but in ‘Victims’ followed by ‘Do you really want to hurt me’ he completely sang next to the tone, and the audience seemed to have some questions about it.

His contribution in the second part was much better adapted to his voice and there he could better convince as an artists, together with his kindness. Supported by the backing vocals he brought a well tasted and cozy version of Karma Chameleon, followed by a sang along by the audience ‘Always on my mind’ of Elvis.

Boy is back in the music world and we wish him best of luck, but a reunitement and world tour of Culture Club doesn’t look exciting, except for his die-hard fans.

La Jones conquers the arena

Ah, Grace Jones: She’s the kind of women the whole world knows, the whole world seen and so you can’t teach anything anymore. A real professional, a tender act on stage and what a luxury! With her 62 years she both shined vocally and physically a lot of strength, which she underlined even more by her excessive performance at each of her four songs. Respect, Grace, for that much class!

Williams Blood as a whinny horse, the dance with the fashion-doll in Libertango, the surprising flower in ‘La Vie En Rose’ and the hoop in ‘Slave to the Rhythm’. Having to change between each song, divided her performances across the whole evening.

That much class should receive more feedback but the audience was watching breathless. In Germany, they will complain that Grace Jones doesn’t participate in the German edition!

Music is my first love

Three times John Miles came on the stage. ‘Music’ he still plays with a powerful voice: the one song remains THE Proms hymn that is well known by the technical staff so it was almost perfectly brought into the arena through the speakers.

At ‘Mac The Knife’, Il Novecento was suddenly changed into a big band orchestra, although the brass section could sound trough a bit more powerful. He brought symphonic pop with Queen’s ‘The show must go on’; brought very convincing, without the smoothness of Freddie Mercury but still much appreciated.

John, keep coming back many times: musically and emotionally the audience and you keep finding each other over and over again.

Surprise act

Who studied the program for Rotterdam, knew that the surprise act had to be of the same caliber as Barry Hay of Golden Earring. And who could better be the surprise act as Barry Hay himself? Excellently arranged by Geert Keysers (Radar Love) and Dominique Van Haegenberg (When The Lady Smiles), his performance formed the perfect harmony of rock and classic. Finally everyone stood up, the center of the arena jumped and sang along: the formerly high days are back again! ‘Rader Love’ and ‘When The Lady Smiles’ were brought with the guitar in the front and a full sound. A well succeeded surprise! Arnhem and Rotterdam can start to heat up!

As extra surprise act at a single show, Cliff Richard was there was well. Sir Cliff is the head line in Germany and came to rehearse and make some recording in Antwerp, so he was an extra surprise act, next to Barry Hay. The name itself was know with many, but the younger crowd didn’t knew his ‘We don’t talk anymore’ that well. But, as we’re 70 years old, we want to be able to perform as well as him. Respect!

And then, John Fogerty

Would it work, John Fogerty and a symphonic orchestra? It was the same doubt as when Status Quo and Meat Loaf were here, and who were much appreciated. It has to be said: Geert Keysers and Dominique Van Haegenberg did a wonderful job.



After the strong ‘Down on the corner’ the rhythm went down with less know blues songs. Until John felt lonely and went to the center of the catwalk to sing ‘Have you ever seen the rain’. Then, the atmosphere was back with ‘Bad Moon Rising’ and his ‘Rockin’ All Over The World’. A powerful final was carried on, after ‘Land of Hope and Glory’, with ‘Proud Mary’.

The large gang of Fogerty fans had to adapt to see him on stage with a symphonic orchestra and a less raw sound; John seem to appreciated it but the cooperation between the two cultures had to collide a few times.

So we conclude

Without a doubt: the 26th edition is an especially wonderful one of grand cru quality.

Caught in the eye:

• the wonderful performances of the artists (although Boy George was a bit less)
• completely new classical pieces and wonderful achievements by Il Novecento, Charlie Siem and Fine Fleur
• an futuristic show for the stage, light- and video techniques

And we don’t forget:

• the backing vocals who were grand as usual
• the electric banc where the new guitar player Leendert Haaksma could stand out
• the wonderful quality of the sound

It goes without saying there were a few issues that the premiere, mostly because it was more the first big general rehearsal. We leave them out of the review because they were fixed in the next shows.

Night of the Proms remains a professional collaboration of a crew above 150 heads lead by Jan and Jan; the road to the future is found. But they put a lot of effort into it and is wouldn’t be that easy every time. Congratulations!

Our picturegallery of this edition is added here (All photos on this page and the photo gallery are copyrighted by Bart Henseler)