Anna Lapwood review – charismatic organist has a packed Royal Albert Hall eating out of her hand

TruthLens AI Suggested Headline:

"Anna Lapwood Enlivens Royal Albert Hall with Dynamic Organ Performance"

Anna Lapwood review – charismatic organist has a packed Royal Albert Hall eating out of her hand analysis cover image The Guardian 7.2
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Original Article Source: https://www.theguardian.com/music/2025/may/16/anna-lapwood-review-charismatic-organist-has-a-packed-royal-albert-hall-eating-out-of-her-hand
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AI Analysis Average Score: 7.2
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TruthLens AI Summary

The Royal Albert Hall's Henry Willis organ, a magnificent structure with 9,999 pipes, has historically been underappreciated, but Anna Lapwood, the venue's first official organist, has brought it to life with her dynamic performances. Despite her petite stature of 5ft 3in, Lapwood, known as the 'TikTok organist' with over two million followers, has captivated audiences and filled the hall for her midweek concert. In collaboration with the Philharmonia Orchestra and Chorus, conducted by the innovative André de Ridder, Lapwood's performance showcased a blend of popular film soundtracks and classical masterpieces, creating an engaging experience for attendees. While she began the evening with a theme from Hans Zimmer's The Da Vinci Code, she later delved into more substantial works, such as Saint Saëns' third symphony, a staple of the organ-orchestra repertoire, and a mesmerizing suite from Zimmer's Interstellar soundtrack that explored hypnotic, minimalist themes reminiscent of Philip Glass.

The concert also featured two newly composed pieces that highlighted Lapwood's commitment to contemporary music. Kristina Arakelyan's toccata offered a playful yet eerie exploration of sound, while Max Richter's 33-minute Cosmology took listeners on an emotive journey through space with its diverse movements, showcasing Lapwood's skill both as an organist and a choir leader. Beyond her musical talents, Lapwood's efforts to engage with the audience and contextualize the music have established her as a significant figure in classical music, akin to Leonard Bernstein. Her advocacy for the pipe organ and female musicianship, symbolized by her #PlayLikeAGirl T-shirts, further positions her as an ambassador for the genre, making classical music more accessible and appealing to a broader audience.

TruthLens AI Analysis

The news article highlights a performance by Anna Lapwood, the first official organist at the Royal Albert Hall, showcasing her unique ability to engage audiences through her charismatic presence and innovative approach to organ music. The review emphasizes her popularity, particularly among younger audiences, due to her significant social media following. This analysis will explore the implications of this event on various aspects of society, culture, and the arts.

Audience Engagement and Cultural Impact

Lapwood's performance, which includes both classical and contemporary pieces, reflects a broader trend in classical music aimed at attracting diverse audiences. By integrating popular film soundtracks and engaging with the crowd, she breaks traditional barriers in classical music, making it more accessible. This strategy can foster a greater appreciation for orchestral music among younger generations, potentially revitalizing interest in the genre.

Perception Management

The article presents Lapwood in a highly positive light, focusing on her ability to command attention despite her physical stature. This portrayal aims to create a sense of admiration and relatability, contrasting with the often-stereotyped image of classical musicians. By framing her performance as a battle against the Philharmonia Orchestra, the review adds a dynamic layer to the experience, suggesting a fusion of competition and collaboration that may resonate with audiences.

Political and Economic Context

While the article primarily focuses on a musical event, it subtly touches on the broader cultural narrative around the arts' role in society. By showcasing a successful female musician in a traditionally male-dominated field, it contributes to discussions on gender equality in the arts. Moreover, increased attendance at such events can have economic implications for the venue and the surrounding area, potentially boosting local businesses.

Community Support and Target Audience

Lapwood's appeal to younger audiences, particularly through social media platforms like TikTok, indicates a strategic outreach to communities that may have felt alienated from classical music. By engaging with these demographics, the event is likely to garner support from various community groups that value inclusivity and modern interpretations of classical art forms.

Market Influence

In terms of market impact, performances like Lapwood's can influence ticket sales and sponsorships for classical music events. As public interest grows, this could lead to increased investment in similar performances, affecting the broader cultural economy and potentially benefiting associated industries, such as music education and event promotion.

Global Context and Relevance

This performance aligns with contemporary trends in the arts that emphasize accessibility and inclusivity, reflecting wider societal shifts. As discussions around representation and diversity gain momentum, Lapwood's success serves as an example of how traditional art forms can evolve to meet the expectations of modern audiences.

Potential Use of AI

The writing style of the review, while engaging, does not overtly suggest the use of artificial intelligence; however, it is possible that AI tools could have been used for language optimization or content generation. If AI were employed, it might have shaped the narrative to enhance its appeal to a broader audience, focusing on elements of relatability and emotional engagement.

Manipulative Aspects

There is a subtle manipulation in how Lapwood’s persona is constructed; the article emphasizes her charisma and ability to connect with the audience, which could downplay the complexities of her musical interpretations or the challenges faced by classical music in general. This framing might lead readers to perceive her as a singular success story rather than part of a larger dialogue about the future of classical music.

The overall reliability of the article is bolstered by its focus on a live performance, where audience reactions and the artist's direct engagement can be readily observed. However, the review's positive slant may omit critical perspectives on the challenges faced by the classical music industry.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/music/2025/may/16/anna-lapwood-review-charismatic-organist-has-a-packed-royal-albert-hall-eating-out-of-her-hand

TheHenry Willis organ– 70ft high, 65ft wide, with 9,999 pipes – has long been the criminally underused centrepiece of the Royal Albert Hall, but it has finally found someone big enough to bring it to life. Anna Lapwood, the venue’s first ever official organist, might be a slight 5ft 3in but the so-called “TikTok organist” – with more than 2m social media followers – is charismatic enough to sell out a midweek gig and have a packed hall eating out of her hand.

Tonight she and her organ battle with the Philharmonia Orchestra and Chorus, under the baton of the ever adventurous German conductor André de Ridder. Lapwood’s obsession with film soundtracks could suggest a rather glib populism – she even apologises for starting with a Hans Zimmer theme from The Da Vinci Code (“I don’t know why it made me cry, it’s not even a very good film”) and encores with a solo arrangement of a throwaway theme from How to Train Your Dragon. But the rest of the show has heft. Saint Saëns’ third symphony, probably the most famous piece for organ and orchestra, takes up most of the second half, while a suite from Zimmer’s Interstellar soundtrack shifts the organ-heavy themes into hypnotic, Philip Glass-like territory.

Better still are the two pieces specially written for tonight. A toccata by young composerKristina Arakelyanis a wonderful mix of whimsy and horror, filled with slippery harmonies, gurgling sci-fi passages and studied discordancy. Max Richter’s 33-minute Cosmology conducts a circular voyage through space – from the tentative, irregular, arpeggios of the intro, to the heart-tugging, funereal organ drones of the second movement, the glistening modulations and irregular time signatures of the third, while the final movement mixes Lapwood’s dreamy, synth-like chord washes with the female voices of the choir she leads at Pembroke College, Cambridge.

What’s especially welcome is Lapwood’s efforts to talk to the audience and put the music into context. As well as being an evangelist for the pipe organ, and a champion of female musicians (her#PlayLikeAGirl T-shirtsare all over the hall), she’s also becoming one of the most effective ambassadors for classical music since Leonard Bernstein – a musically omnivorous enthusiast who knows how to communicate with a wider audience.

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Source: The Guardian