Sunday August 2nd, 2026
Proms (Mahler’s First by heart ) and Tate Modern
Today we went to see the second performance of the Aurora Orchestra conducted by Nicholas Collon giving their treatment to Mahler’s Symphony No. 1 in D major - performed from memory. I'd always thought Mahler to be a bit serious and glum for me but was surprised to find I found the symphony more accessible than the Shostakovich that we heard last year. Following the format, the first half was dramatised with the actors using words directly penned by Mahler or his wife Alma - as well as the mandatory audience participation. As Mahler explained, he wanted to include everything in life in this "symphonic tone poem": birdcalls (the cuckoo), klezmer bands, folk dances, soldiers, funeral marches and song. The symphony integrates themes from Mahler's own song cycle, and so we were treated to a performance by mezzo-soprano Natalie Lewis as an introduction to the complete performance of the symphony in the second half.
After a revitalising lunch, we were off to the Tate as I wanted to see Tracey Emin: a Second Life before it closed. It was not so easy to view. I found the short video Why I Never Became a Dancer very moving. In this piece she relates how as a teenager she tried to leave Margate by winning a disco dance contest, and shames those ruined it; she is seen dancing joyfully to "You Make Me Feel (Mighty Real)".
I had to take a picture (again) of her famous installation My Bed as I remember the controversy it caused in 1996 - I heard her once talking about it: coming into the room, taking in the scene, and perceiving it as "just right", and although I am (and was in 1996) miles away from her life and difficulties, I always thought it is indeed "just right". I was never so keen on her tent, but the bed was ... perfect. She rejects the term confessional art, but I do think unapologetic self-expression sums it up well.
I was surprised to find that Frida: The Making of an Icon has already opened so we could not resist also viewing that. In a previous exhibition at the V&A, in terms of her paintings, I mainly saw self portraits so it was interesting to view her other art, some of which are quite surrealist - even thought that was a label she supposedly rejected. This is My Dress Hangs There (1933) with its background of items she considers symbolic of America - intended as a criticism, and showing her desire to return to Mexico.
And of course there was a display of her iconic and wonderful folk dresses.
However, as well as Frida's own art, the gallery displays works by other artists from following eras inspired by her - from female contemporaries' self-portraits, to modern artists. The final rooms showcase commercial objects (‘Fridamania’) using her art, image, and style.
I have not dwelt on the themes that preoccupied Emin and Frida as I find them a bit disturbing (as intended), but I was really surprised about how much overlap there was. So I was truly delighted that they included a photographic art work by Mary McCartney from 2000 Being Frida.
I cannot end without mentioning that YET AGAIN the rail system was a complete farce (disaster happily averted in this case) and a repeat of our experience in going to the Turner/Constable exhibition last February. I paid for a full day parking at Surbiton but once we were on the train they announced an unspecified delay due to signalling issues. Once bitten twice shy, we bailed immediately and drove to Richmond to catch the tube; this proved to be quite a good route as it's on the right line for South Ken - barring a second full day parking fee - and we arrived in good time for the Prom.
