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This week presenter Nicola Christie finds Times writer Caitlin Moran dropping everything for the Doctor Who Prom and hears from the Naked Violinist Tasmin Little.
Tasmin Little enthuses about the open minds of Proms audiences and discusses playing the work of Ethyl Smyth, the English composer who rebelled against her upper class background and became a leading light in the suffragette movement.
During the interview we'll hear excerpts from the Chandos recording of Ethel Smyth's Concerto for Horn and Violin, which Tasmin plays on August 4.
The theme tune to Doctor Who has spawned an entire Prom, and next we hear from Caitlin Moran and her daughters, who have strong opinions on the Daleks and the Cybermen and how they fit into the world's biggest music festival.
"The majority of the audience have got bladders the size of walnuts," says Caitlin, "and they've been still and rapt through the whole thing, we haven't heard a single squeak. It's been presented in such an accessible and friendly way."
We've also got classical editor Neil Fisher's tips for the week ahead and we introduce the latest Promscast series of new compositions reinventing the classics. This week it's a reworking of Ravel's Bolero by composer Graham Ross.
You can listen either way. Sign-up in iTunes and you will receive every episode direct to your computer as we release them. Alternatively visit timesonline.co.uk/proms every Friday to listen to the latest podcast as an MP3.
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>>"The majority of the audience have got bladders the size of walnuts," says Caitlin, "and they've been still and wrapped through the whole thing, we haven't heard a single squeak.<<
Wrapped in what? Oilskins?
David Pickett, Texas,
i love violin, it sounds good.
james bagguely, stoke,
I read this article (4) times and it still makes NO sense. Suffragette movement? Have IQ's dropped sharply in the last 30 seconds or is this 1890? It's a veritable time machine...
therockofages, Tampa, USA
Every year we go through "The Emperor's New Clothes" syndrome.On the BBC the experts waxed lyrical as to the musical merits of the centenarian Elliott Carter and we were subjected to 20 minutes of what can only be decribed as a catatonic cataclysmic catastrophe.
Why is candour and honesty ignored?
james allen, manchester, england