Sunday, May 4, at the Maisonneuve theater of the Place des Arts, the Quebec Philharmonic Orchestra, led by its renown and artistic director Alexandre Da Costa, presented Hollywood: the golden age of cinemaa concert entirely devoted to film music.
In addition to seducing us, of course, the objective of the concert was to “do justice to the pioneers and visionaries who, by serving the seventh art, shaped a symphonic language whose influence is omnipresent today. »»
To do this, the program included the following works and composers:
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My Fair Lady, « Opening », Frederick Loewe (1901-1988), arr. Robert Russell Bennett (1894-1981)
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Rhapsody in Blue, « Opening », George Gershwin (1898-1937), arr. Ray Heindorf (1908-1980)
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Leg how, « Pdefense »; The Cid, « Love theme »; et Baghdad thief, « Opening », Rose Nicholas (1907-1995)
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Star Wars, « Suite », John Williams (born in 1932), as a reminder
Appreciation
On three occasions, the passionate and fiery violinist swapped the conductor wand for the bow, seized his Stradivarius “Deveault” 1701 and, accompanied by the orchestra, offered us a flamboyant performance. Seeing such a virtuoso, world -renowned, is always a renewed pleasure and a spectacle in itself, to which, moreover, there are the impactful performances of an orchestra which never ceases to push its limits.
Incidentally, I think it was 1re once I attended a concert during which I did not experience specific favorites, for the simple reason that all the works which we have been gratified also wrapped me and transported. Alexandre took care to concoct us a very homogeneous and spectacular program where all the parts competed in interest. The full concert was therefore a wide favorite.
All the sections of the orchestra have been used to put our ears in our ears, communicate to us a few ear verses and make us make our own interior cinema and we left so many great musical arrangements and memorable melodies.
This enchanting concert – lasting 2 hours, including a 20 -minute intermission – has gone to the speed of lightning and very legitimately deserved at all valiant musicians, who have once left a spontaneous standing ovation and insistent applause.
My only downside
In my humble opinion which engages only me, during a concert, it is a recurring irritant that this absence of screen, where the titles of works could be projected as well as the names of their respective composers, when it is expected that the conductor will not take the time to identify them all as and when the program unfolds.
But then, the spectator simply has only to consult the program before or after the execution of each work, you will say to me? Or print a copy at home and bring it in the dining room? Or to sweep the QR code – using his cell phone or tablet – made available to him at home to obtain a virtual copy on his screen? And voila! No ?
Doesn’t the usual lighter lighting of the room prevent any reading of a program on paper during a concert? As was indeed the case during this concert-civil! And the reading on the bright screen of our electronic device then? As it is now of common use, before the start of each show, that the spectators are requested to extinguish all their devices … hence the need, in my opinion, that “all” the works are identified at the microphone, before or after execution.
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