John Wilson conducted a commanding performance at this year’s Proms, presenting Ottorino Respighi’s celebrated “Roman trilogy” — Festivals, Fountains, and Pines of Rome — in a single, continuous hour-long sequence. The concert, featuring Wilson’s Sinfonia of London with 120 musicians, was held at the Royal Albert Hall and showcased the vivid orchestral textures and cinematic qualities inherent to Respighi’s work.

Wilson’s decision to perform all three massive tone poems consecutively initially raised questions about maintaining audience engagement, given the rich and complex nature of the compositions. However, the performance captivated listeners with its dynamic range and detailed evocation of Roman imagery. Respighi’s orchestrations vividly painted scenes such as a nightingale’s song on Janiculum Hill, nymphs splashing in Bernini’s Triton Fountain, and the somber, anachronistic chanting of Gregorian hymns amid the spectacle of early Christian martyrdom. The program culminated in the thunderous depiction of a victorious imperial army returning along the Via Appia, further intensified by the unexpected arrival of additional brass players positioned above the main orchestra, nearly overpowering the organ’s powerful sound.

Wilson’s conducting style contrasted markedly with his grand programmatic task. Known for precision and restraint rather than flamboyance, he guided the ensemble with subtle gestures that brought out both clarity and passion without excessive showmanship. Among the many standout moments was an ethereal offstage trumpet solo, performed from a gallery during the catacomb movement in Pines of Rome, which captivated the audience.

Prior to the Respighi set, cellist Jonathan Aasgaard delivered a nuanced performance of William Walton’s Cello Concerto, composed in the 1950s while Walton was living in Italy. The work’s tone is markedly different from that of Respighi, embodying a reflective English melancholy with moments of quiet intensity and understated passion. Aasgaard’s interpretation was praised for its technical precision and emotional subtlety, particularly in the unaccompanied, cadenza-like passages where his cello’s delicate phrasing floated with a silvery fragility.

Following the concerto, Aasgaard remained onstage to lead the cello section for the Respighi pieces, underscoring his enthusiasm for the program’s musical journey. The evening’s carefully balanced combination of technical mastery and evocative storytelling garnered acclaim, highlighting both Wilson’s skillful leadership and the versatility of Sinfonia of London’s players.