each summer has given the orchestra an emotional spectrum several shades more sinister and euphoric than commonly heard.was originally released with music by Mark Knopfler, admired by some for its haze of synthesizers. For this show, expertly led by veteran film composer and conductorGraham does a nice job coloring moments with specific instruments — the tuba as the giant; trombones warning what’s to come in the Fire Swamp.
But Knopfler’s music, fine as it is, doesn’t have the nuance that, say, the best scores of John Williams have. Trumpets announce moments of arrival, and some sound painting is effective — like the floating part flutist Patrick Williams played as Princess Buttercup jumps down into the arms of Fezzik .
What you want from a live-to-screen show, though, is the almost three-dimension sensation of being enveloped in sound and image so each element is made more powerful by the other. This wasn’t that. The music doesn’t quite achieve scope and sweep. It was a fun night out. There’s a definite tingle to sitting in an audience as connected to the material as this one, laughing and applauding at dialogue and action at key moments. An intermission-time marriage proposal in the audience suggested the film’s romantic power. And, at this precise moment in human history, who can’t use a dose of the sadistic bully getting what he has coming to him?
But there are times when you need a live orchestra — even an Orchestra of Unusual Skill — and times you don’t. On this night my thoughts kept turning to all the great movie music the orchestra could be playing.
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