Classic Brits 2011

share this article

Arvo Pärt: A political classic
Arvo Pärt: A political classic

In case anybody had the bizarre notion that the Classical Brits was getting a trifle too classical, the 2011 version of the event was rebranded as the Classic Brit Awards. That would seem to open the door to almost anything - classic rock perhaps, or classic schmaltz (well, waltzmeister Andre Rieu did win Album of the Year). The night climaxed with Dame Shirley Bassey singing "Goldfinger", capping a tribute to the late John Barry, and sounding nowhere near as "classic" as she used to.

Stage musicals comfortably make the cut, with Alfie Boe and the cast of Les Misérables taking the stage for a jog through a medley which included "Bring Him Home" and "One Day More". There was room for the unspeakable too, in the shape of Il Divo, Simon Cowell's grooming-product-encrusted squad of male models laughably given the Artist of the Decade award (pictured below).

Il_Divo_trimYet there was room for "proper" classical artists, with gongs going to trumpeteuse Alison Balsom (Female Artist of the Year), violinists Tasmin Little (Critics' Award) and Vilde Frang (Newcomer Award), and conductor Antonio Pappano (Male Artist of the Year). Anne-Sophie "call me Miss" Mutter whizzed through a chunk of Vivaldi's Four Seasons with all strings blazing, while Eric Whitacre conducted his Eric Whitacre Singers in Sleep.

But surely politics and the Classic Brits can't mix? Only if you're Arvo Pärt. The esteemed Estonian was named Composer of the Year, and dedicated his award to "Russia's number one political prisoner, Mikhail Khodorkovsky, who has become a victim of state judicial terror." Now that's what I call classic. Wonder if that'll make it into ITV1's broadcast of the show on 29 May.

rating

0

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more classical music

Eloquent thoughts on the wonder of 'Dichterliebe' and a new work inspired by it
Latest in a line of great Irish mezzos shows her versatility, and the strings swoon
A pair of much-loved cello concertos, plus percussion transcriptions and a great German song cycle
Two recitals in a thousand, other events good to excellent
Distinction and emotional impact from young musicians and an exuberant maestro
A brass hero blows through favourite pieces - and a bluesy newcomer
Baroque concertos, opera arias on solo horn and new music for contrabass flute
Subtle, introspective 'Harold in Italy' followed by over-punchy 'Symphonie fantastique'
Semi-staged version brings a heightened appreciation of the symphony's jostle of voices
Cellist/singer with friends and top quartet make welcome returns to the DICMF
Striking performances by a quartet with a strong sense of identity
Life-enhancing Danish piano music and a trio of epic symphonies