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The Royal Philharmonic Orchestra and critically acclaimed opera singers including lead soloist Stephen Gadd, who has sung in some of the world’s most prestigious venues including English National Opera, Royal Opera, Covent Garden, Opera national de Paris and the Glyndebourne festival (more often to be found performing Tosca and Macbeth than Oh Bondage Up Yours!) might be an unusual idea on paper, but whether it be the Sex Pistols’ God Save the Queen, Buzzcocks’ Ever Fallen In Love or the Clash’s London Call
Punk was designed to be stirring, and the original energy of the music adapts brilliantly to the power of the swelling strings and operatic voices. In fact, as Glen Matlock explains, it’s not too much of a stretch from the guitar to a thirty piece orchestra: “When you’re playing guitar, you have six strings each playing a different note, allied to a chord. In an orchestra, a string instrument only plays one note at a time, and you have loads of different people, making up those chords. It’s not that dissimi