Cinematic

The ever-popular Cinematic concerts entered their fifth instalment this year and are likely to become an annual event judging by the bulging concert hall on opening night. What with a simultaneously packed frenzied Friday night of patrons in the Lyric Theatre, the whole complex was a-buzz of a slice of Brisbane theatre-goers eager to escape into the world of showbiz, including an understandably somewhat stressed mix of QPAC staff. Upon entering the concert hall one was somewhat bedazzled by a stage of a multitude of costumed musicians, each one dressed individually as characters from a selection of the movies on the agenda, possibly even more.

Popular conductor and personality Nicholas Buc took centre of stage (also in costume, even as Forrest Gump in the second-half) providing an informed background to each item with pazazz and conviction, not only expressing his knowledge and love of the medium in words but also as a performer. He is also an experienced composer and arranger himself.

With thirteen items on the program, too many to mention here, there were enough diverse styles to please everyone, including excerpts from the famous scores of John Williams, genius John Powell (go listen to his incidental music to the soundtrack of the new-release film version of 'Wicked'), Danny Elfman, even his theme from The Simpsons as part of the encore, Paul Dukas' brilliant The Sorcerer's Apprentice and Hans Zimmer's favourite opus Interstellar (complete with the use of the concert hall organ, always on display and at last in use; and much to the delight of the gasping audience).

But what was unique about this concert, and for a change, was the spotlight on the versatility of the piano and its effective use in a variety of scores. With Melbourne-born guest soloist Daniel Le's velvet touch, we were taken on a journey through some of the iconic scores of, for example, Alan Silvestri's Forrest Gump, one of my favourites, John Lunn's beautiful Downton Abbey Suite, even the works of English composer Carl Davis, which struck a chord with me (pardon the pun) because I played the part of a Yemenite musician in one of the movies he scored back in the 80's, King David, with Richard Gere in the title role.

One of the downsides of creating a program of music not intended for the concert hall is that it is, after all, mostly designed to enhance the action, indeed even in-action, on the screen, so is not a structured art-form as such: hence there were some low-points during the evening (I'm not a fan of the 'Lord of the Rings' score, for example) providing less distraction to browse the stage's costumed musicians and attempt to match the character to the movie. However, what film music is lesser-known to Joe Public at least partly accentuates its importance. Even if one is unaware of its presence it is, in fact, a compliment to its creator as states Alexandre Desplat, prolific film composer and master of this art-form, simplicity, he says, being the core.

Being an unsuccessful film composer of no note (not completely) myself, this was definitely a concert I was delighted to review and, despite the claustrophobic ambience and occasional dictatorial QPAC staff member, I was still able to languish in the world of make-believe and lap up the revered success of the composers whose hard work and dedication is so often over-looked in the biz. With a terrific lighting plot to enhance the visuals and a world-class orchestra keeping Hollywood in focus, this was indeed a concert just as colourful visually as aurally. I look forward to experiencing the next instalment ……

Brian Adamson

Photographer: Sam Muller