Welcome Herman - I saw you join a week or so ago and wondered when you would post.
Yep - was in the hall for this (down the front as usual) - and actually ended up rather disappointed.
The Macmillan? Not really sure aboiut his music, normally see the point (unlike say George Benjamin or Julian Anderson - where there's nothing memorable at all), but never really get involved by it. Liked the japanese flavoured start and end, and the bit of echt-Sibelius in the middle, and some of the sonic effects. The percussion section was of course visually fun (although far from extravagant in todays terms) - IIRC there were about 4 different 'phones and 'spiels, sets of tuned temple gongs, gourdy things (to use the technical term
) and roto-toms, a couple of hammers from the local hardware store for hitting some metal bars, a metal thunder-sheet and tam-tam, and a couple of steel drums. But I doubt whether I'd remember any of the rest of it if I heard it again (can't remember it even now). Aparrently the piece of his to heard is the 'Cello Concerto - I must check it out some time.
The Beethoven? I generally felt it was too fast for the orchestra, who played as if posessed and seemed to be really enjoying themselves, but there was no space for e.g. crispness or bite to the accents - everything was just steamrollered through (particularly the outer movements). The other thing that was really noticeable in the hall was the very bad brass (and particularly trumpet) balance - far too much when just accompanying and frequently too little when they did have the tune. (There seemed to be a complete woodwind collapse at the end of the scherzo too). Much preferred Gatti with the RPO a month or two ago.
And the piece I really went for - the Strauss. Again, seemed perfectly adequate, but not really moving (except for the last line of Im Abendrot which really sent a shiver down the spine - but if that fails then there really is something wrong). Orchestra seemed fine, but I wasn't really convinced by Frittoli. Again, I hope the radio balance was better than in the hall, but here she was frequently drowned by the orchestra. She also had too wide a vibrato and insufficiently rich/silky tone for this piece. According to the programme notes she's mostly sung Mozart, for which I think she'd probably be better suited. Still I suppose it's tough competing with the home collection of Janowitz, Norman, Fleming in their prime (and I give Isokoski as spin too from time to time for a rather lighter view).
Overall - a bit of a shame, as I've heard some pretty good concerts by the BBC Phil, and Noseda has an excellent reputation. Maybe I'm just getting spoilt by the LSO and some of the top-class orchestras visiting London this past year. (I had a very similar reaction to yesterday's main concert - the BBCSO were much better than on Friday, but e.g. the Vaughan Williams still didn't really have much life or depth - I expected much better)
The really enjoyable concerts this last week have actually been the ones I went to more through duty/off-chance than intent. In Monday's late-nighter the Northern Sinfonia were excellent - I guess the Toon boys won't be reading this old-fogey music thread, but they have an super band in Gateshead. Marvellous Bach Vln/Oboe (BWV 1060) and Stravinsky Apollon Musagete (although maybe more neo-romantic than neo-classical), very interesting new piece by Philip Cashian - and a stunning display by Heinz Holliger of some Berio (hated the music, but bowled over by the performance).
The AAM/EC concert was also absolutely wonderful. An orchestra of 50+ period instruments (combined forces of both groups, + a students orchestra from the Royal Academy) make a fantastic noise, and the Corelli was knock-out. Even that though was well eclipsed by the Handel Dixit Dominus - and that choir was superb. (Still can't see the point of those florid baroque arias as in Handel's Silete Venti Handel though - couple of minutes a line, and then the whole thing again in case you missed it first time
)
And last night's late nighter - Mendelssohn's Antigone, incidental music + semi-staged snippets of the play - was really fun. OK, not the most profound music, but it really fitted the occasion, and the small orchestra and male-voice choir made a far bigger sound than they had any right to. There were some top notch Shakespearian actors for the play too. Well worth the backache!
because i will be on honeymoon 
making my own music
I'll content myself with listening on the radio I guess, now anyone care to lend me a Magnum Dynalab tuner and Signal Sleuth until mid September?! 
. And the mezzo-sop soloist in the Prokofiev was easily the closest I've seen in real life to Miss Piggy, complete with masses of wavy blonde hair, a very ample and scarcely contained embonpoint, and (as the Times said) "a vibrato as wide as the Volga, and a vast, glittering ballgown to match. No sequin shortage in the new Russia, clearly."