Leah Khor
While orchestral performances are often associated with serenity, BBC Concert Orchestra’s Friday Night is Music Night: TV Classics at Nottingham’s Royal Concert Hall was anything but subdued — and that was its greatest triumph. This was no evening of quiet reflection; it was a night of exhilaration and nostalgia, bringing together television lovers in a shared celebration of sound that has defined generations.
…it left an imprint on me so profound that I felt a lump rising in my throat…
The night commenced with High Adventure, the short yet instantly recognisable opener from Friday Night is Music Night on BBC Radio 3. From the very first notes, the concert welcomed us with a familiar sound that instantly transported audiences to their Friday night traditions. At the heart of it all was conductor Anna-Marie Helsing, a force of nature whose passion was palpable and astounding to witness. With every sweeping motion of her hands, she successfully infused her presence with an infectious energy and elegance that made it impossible to look away. Alongside her was Nathaniel Anderson-Frank, leader of BBC Concert Orchestra, who conquered the violin like no others. Whenever he took centre stage to close a piece with his otherworldly sound, it left an imprint on me so profound that I felt a lump rising in my throat every time.
One of the concert’s most delightful and lovely aspects was its deep appreciation for television history. Even as an international student who didn’t exactly grow up with BBC’s legacy, I found myself drawn into these iconic themes, many of which had already shaped my own viewing experiences. It was a thoughtful touch to have BBC Radio 3’s presenter, Petroc Trelawny, as the charismatic host, offering witty yet informative introductions before each piece. He provided just the right amount of historical insight, allowing us to connect with the music on a deeper level. I also wouldn’t have known that Bella Ramsey — who played Lyanna Mormont in Game of Thrones — was born and raised in Nottingham without his fun interjections before the orchestra launched into another breathtaking piece.
…the show was all liquid smooth with violins weaving intricate melodies…
The first half of the show was all liquid smooth with violins weaving intricate melodies, like the beautiful composition from The Sky at Night. Then, the mood shifted dramatically with the commanding theme from The Apprentice. The moment the bold, thundering low brass punches reverberated through the concert hall, audible gasps echoed through the crowd. Given its recent viral resurgence, there was something thrilling about hearing it performed live. For a few moments there, it felt as if we were contestants in the boardroom, waiting for Lord Sugar to say, “You’re fired.”
Even though sitting in the front rows meant that I didn’t get the full panoramic view of the orchestra, what I did get was something even more special — an intimate glimpse into the talented musicians themselves. And wow, was that an absolute treat. It was pure joy to watch them smile at each other between notes or exchanging glances whenever they had a chance to. Watching them enjoying one another’s company along with the music they played made the whole night feel warmer, more personal, more alive.
This warmth extended beyond the stage. When the orchestra kicked into the legendary melody from Monty Python’s Flying Circus, something unexpected happened — a woman in the audience started clapping to the cheerful melody. At first, there was a collective confusion — was this allowed? But then, Helsing turned around, signalled with her hands, and encouraged us all to join in. And just like that, we became part of the music itself. Never in a million years did I expect an orchestra concert to be this interactive, yet here we are.
Just when I thought the night couldn’t get any more fun, Iain Farrington’s unmistakable Extra Time proved me wrong. The piece itself, inspired by sports themes, was already a wild ride. It built up, chasing its own momentum like a football team sprinting toward a goal — until, suddenly, a referee stormed onto the stage, blew a whistle, and brandished a red car. The hall instantly exploded with laughter, and a man in front of me even leaped to his feet, shouting, “Bravo!” It was a theatrical, unexpected, and absolutely hilarious moment that everyone thoroughly appreciated.
Every note was executed with breathtaking precision…
Of course, no tribute to British television would be complete without the scores of the 2005 adaptation of Pride and Prejudice and Game of Thrones. One minute, I was completely swooned by the romantic, majestic melodies from Pride and Prejudice, as my hands were instinctively placed over my chest in awe. The next, I was thrown into the thunderous theme from Game of Thrones, as if I were marching into battle in a bygone era. Since these two are the most familiar pieces to me, I was eager to hear how they would translate live — and I was utterly blown away. Every note was executed with breathtaking precision, so eerily identical to the original soundtrack that it felt surreal. Yet there it was, unfolding before me. And lucky me, I got to experience it.
At last, the orchestra brought the night full circle with a final reprise of Friday Night is Music Night. As the musicians took their final bow and the lights dimmed, it felt as if we were all switching off our televisions for the night, bringing our day to a satisfying close. It was an absolute honour to witness this performance live, and even more so, to be part of a recorded broadcast that will play on BBC Radio this summer!
Now, whenever I tune into these BBC shows, I know the familiar themes I’ll hear will strike a different chord — because I’ll always remember what it felt like to be right there, in the middle of it all.
Leah Khor
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article images courtesy of Leah Khor. No changes were made to these images.
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