IF, despite the odd glitch in synchronisation, the RSNO never sounded less than idiomatic in their performances of Hollywood movie music - classics brand new and brand old - last night, then there is a very good reason. Simply, they have been up to their armpits in the stuff recording it for their American label throughout the last week.
And if the concert itself seemed a fraction short on glitz, then perhaps they were tired; or maybe it was the last-minute nature of the event - it was supposed to be conducted by Hollywood composer Joel McNeely, who took a late call to head for the studios and was replaced at the eleventh hour by Martin Yates.
Whatever, it was still a superb programme of wonderful music by the biggest names in the business, and covering the range of expression, action and colour. And the performances were good enough that the screen images rose in the mind: thunderous in John Williams's Jurassic Park, stirring in Jerry Goldsmith's fabulous Air Force One, still and hushed in Craig Armstrong's meltingly lovely BAFTA winner, Romeo and Juliet, and unforgettably epic in the extended suite from James Horner's Titanic, with the ladies' chorus of the RSNO in lyrical form.
And, in a night of cinematic riches, there were the real classics: Korngold's seminal music from Elizabeth and Essex, Alex North's flawlessly evocative Viva Zapata!, and Herrmann's first Hitchcock score, The Trouble with Harry, mixing menace and whimsy in equal proportions.
With generous showcases for many orchestral soloists, the spotlight fell repeatedly on superb pianist Lynda Cochrane, notably in her dreamy performances of Cinema Paradiso and John Williams's Sabrina. A
very good night, with John Barry's Out of Africa a sumptuous encore.
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