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附上MORRICONE BBS上几位网友的观后感：
Saw the London concert last night at the Royal AlbertHall. Hello's
again to to Tom and Pat. Well, IMHO thistimes he's nailed it perfectly.
With a few tweaks it's the same concert as usual, but every little niggle
has been ironed out in terms of pace, tempo, percussion.
It was just perfect. The "showstoppers" ie Ecstasy of Gold,
Abolicao and The Mission, but also Giu La Testa and GBU were helped
imeasurably by the drummer, Enzo
Restuuccia who knew to drive the whole piece along with perfect feeling
for the material. Not
unsurprisingly given that he has been percussionist for Morricone dating
back at least as far back as "A "Quiet Day in the Country"
(1969). Susanna Rigacci too was much more controlled and didn't attempt
to swamp the orchestra in full-on diva pomp, but rather became,as Edda
before her an important part of the ensemble -and crucially for the
sake of recreating the authentic
sound - controlled her vibrato.
Surprises (for me at least) came in the form of some of the work he
as introduced into the concert. The evening kicked off with the main
title theme (not the end title, which I thought he would plump for)from
"The Untouchables". Later we were treated to a long suite
from "Canone Inverso" which then segued into 3 cues from "The
Red Tent" - I never thought I'd be lucky enough to hear that beautiful
love them live!
This was the first time I'd heard Dulce Pontes sing the theme from "Luz
Prodigiosa" and it was suitably sublime. A real treat came at the
end of 30 minutes of encores - all reprises - when Dulce launched ino
an english language treatment of Gabriels Oboe from "The Mission".
She imbued it with her inimitable Fado style and it was just beautiful.
It appears on her new CD
with Morricone. The only other surprise was one the orchestra and choir
had for Morricone, when, after numerous encores they launched into a
sprited rentidition of "Happy Birthday to You". His reaction
will be forever shrouded in mystery as he had his back
turned to us, but I think he was genuinlly touched.
A great evening, my fourth concert, and in my opinion, the best yet.[by
Steve Saragossi]
Superb concert.I hadn't seen Morricone live before so i don't know
if it was or was not like his other recent concerts.With the exception
of The Good The Bad And The Ugly[which would have been very difficult
to copy exactly],pretty much all the pieces sounded like the originals.Not
being a Morricone expert,there was alot of great music I had not even
heard before,although the highlights for me were the Sergio Leone suite
which comprised of GBU,Once Upon a Time In
The West,Fistful Of Dynamite[probably my fav. Morricone piece],the Once
Upon A time In America
suite,The Legend Of 1900 and ofcourse The Mission which was the concert's
climax,not including the encores which included an interesting version
of The Mission in English.I would have like to have heard some of Morricone's
Dario Argento stuff[although it may have turned off the audience!,or
1900,or Wolf,but with so much great music to choose form it must have
been difficult to select the programme.Still,a terrific concert and
a great evening. [by Sean
Mallory] Hi, I was at the concert at the Royal Albert Hall on the 10th
Nov 2003. What a treat it was. It was enough for me to be in the presence
of the great man himself, but I cant scribe how wonderful the concert
was. To say shivers were constantly going down my spine would
be an understatement.To hear live the wonderful music of Ennio will
be something that will stay with me for ever. The evening seemed to
fly by and I was was entranced by the meastros direction and the performance
from the orchestra and choir. I am still in Morricone heaven and dont
want to come down. Regards to all fans who proved to be an enthusiastic
bunch and gave the great man a warm reception and in the end did not
want him to go. I felt for him as you could see he wanted to please
which he did. He gave a performance which would have exhausted a person
half his age. If you can get hold of the Arena Concerto CD
it will give you an idea of how it sounded on the night. Close your
eyes and your there. Cheers from Steve. [by Steve Conner]
LA TENDA ROSSA - indeed, what a treat! I remember buying the LP more
than 30 years ago, while away on a university track meet, guarding it
on the plane back, and sitting down, listening, with tears flowing to
that memorable side one, and feeling that strange single cue, side two,
"To others who will follow", very much summed up what I was
learning in university. More the pity that the film itself won so little
recognition, and was better known for the production
conflicts involving Sean Connery's participation, and more the pity
that the CD version is hardly a worthy momento of Morricone's achievement.
[by Simon]
Just to add my own praise, I thought this was a sensational concert.
The highlights for me were Canone Inverso and The Red Tent, two of my
favourite Morricone scores, and two I didn't think I would ever hear
live. The fleshed-out, full-length violin concerto in the former was
just sensational and I think during The Red Tent, even my goosebumps
had goosebumps.
[by James]
I'm still pinching myself after last night's absolutely sensational
performance. After pending a tiring day around London, the concert couldn't
come soon enough for myself and my wife perched high in a box on the
right side of the RAH, my 1st visit. The view was excellent and I loved
every minute of it. Morricone seemed to revel in the whole night and
the reception he received. I've no idea about the reception he gets
elsewhere in Europe but I'm sure he must've been pleased with the audience
last night. He seemed to get caught up in th emotion and became very
affectionate to the singers, Gilda and some of his key soloists. Each
and every soloist played their part to perfection I thought. As a fan
of Dulces Pontes I loved her additions
(Sostiene Pereira is a top fave) and was blown away with the words to
The Mission in the encore. And Susanna Rigacci was superb as well, topping
her Barbican performance. There were so many wondeful moments - it was
certainly a night to remember and as a concert I thought it bested the
Barbican, though that was an experience never to forget as I had the
pleasure of meeting Ennio in person. At one point, my wife who is not
overly enamoured with Ennio's music,
was caught up in the emotion of the night and was brought to tears -
now that's a result!!
I hope the reception he received will persuade Ennio to return to the
UK in the future. Its a massive undertaking bringing together the orchestra
and the soloists, but we're worth it....
http://cambodia.e-files.dk/ennio.html [by Andy Brouwer]
I was an unforgettable night yet again. It really doesn't matter how
often you hear the Maestro perform. And it was a real treat to see/hear
him in this most splendid of venues (although I personally preferred
the acoustics at the Barbican?!) I share the opinions on The Red Tent.
Certainly one of the outstanding pieces of the concert that would send
shivers down my spine. Also liked Canone Inverso. However, my personal
highlight has to be Dulce singing
'The Mission'. That was absolutely breathtaking. Now I'm even more desperate
to hear the 'Focus' album!
It was also great to see some old friends again: Steve, Laurence, Pat
B & Pat C etc. I also happened to sit next to Dave Anthony - some
coincidence. And I met others like John Mansell and one of Addie's friends
from the States. Shame time passes so quickly though...
Ennio was in full flow. He must have had a few glasses before the concert.
He was smiling, waiving his baton etc on numerous occasions. So unlike
him. And he looked really touched when the orchestra and the audience
did the 'Happy Birthday'. It was a bit disappointing , however, that
he didn't make time for the 20 odd fans who stayed behind after the
concert trying to get his autograph. He could've signed one piece for
everybody in less than 10 minutes and verybody would've been happy.
As it was there were some very disgruntled folk at the end. Never mind...
Cheers [by Tom]
Thanks for your reports, guys. Looks indeed like it was a tremendous
evening for the lucky ones who were in attendance. Only a complementary
question: if I'm not mistaken, noone has evoked yet the documentary
shown before the performance. What was it like ? A known item ? Something
likely to be found on the Arena Concerto DVD ? Thanks in advance [by
Laurent]
The documentary was actually 40min from the upcoming DVD! It started
with several Morricone pieces and after about 25min or so we finally
got some thoughts of Morricone on various aspects. For example, Ennio
said that he told Andrea that he shouldn't become a composer as he didn't
feel at first that he would make it. But he admits that Andrea proved
him wrong.
I saw some folk leaving the hall when they saw that it was just music
at the beginning. It was obviously not what they were expecting. I was
hoping that they would have the DVD on sale, but
they only had the Arena CD. Hope this answers your question, Laurent.
Cheers [by Tom]
Hi Tom/All Glad you got back safely to Scotland and was great to meet
you. Yes, time does pass too quickly as it would have been nice to have
a longer chat. Sorry you did not get to meet the Maestro at the end.
I was with a friend who did not want to hang around at the end, otherwise
I would have waited as well! What a great concert, my highlights were
The Red Tent
and the suite from Casualties of War (one of my all time favourites).
I was again impressed by how good Investigation of a Citizen.. and La
Classe Operaria...sounded sounded, considering they are not easy pieces.
Credit to EM for including things that have not always been popular
with his fans.
I also enjoyed the short film and it was interesting to hear things
like METTI UNA CERA A SENA (Footsteps) and I PROMESSI SPOSI played by
just piano and flute,they sounded great in chamber form. The interview
with EM was very good as well. so lets look forward to the full DVD.
Hopefully there will be some good write ups in the
next MSV.
Let's hope that EM will be back in England soon - VIVA MORRICONE! All
the best, Dave [by David Anthony]
Yeah, what a wonderful evening! I was really touched by the CASUALTIES
OF WAR-suite, there were times, when I had some problems with that score,
but I was speechless! Same with CANONE INVERSO (Antonio Salvatore -
great!) and LA TENDA ROSSA. No more words to THE MISSON or IL DESERTO
DEI TARTARI....! I think LEGEND OF 1900 was not so satisfying....some
little flaws.
And....I think the ALBERT HALL was the right place - Iwas blown away
by the beauty (outside and inside)!I will never forget this great evening![by
Torsten] For me, nothing can ever beat Rome '98 as that was my first,
but the concert at the RAH was a wonderful evening's ntertainment full
of emotion from start to finish. I'm not sure how many people the hall
holds
but even in the balconies up in the ceiling, where there appeared to
be no seats, people were stood up against the railings for the whole
three hours. They must have needed binoculars to see. If given the choice
it is certain that no two Morriconians would come up with the same program
so the selection on the night cannot really be argued with. One of the
strange things is that, at home, I don't really like and rarely, if
ever, listen to the QUEIMADA piece that is played at these concerts,
but the manner in which it is performed at the concerts turns it into
an astounding unmissable work. No one could ever duplicate the irreplaceble
Edda but
Susanna did fine bearing in mind what she was up against. Funnily enough,
I thought the GBU main theme played this time sounded slightly different
to Rome and the Barbican but I couldn't pinpoint exactly what was different.
During the spine-chilling ECSTACY OF GOLD, Ennio, at the climax point,
practically leaps off the podium and lifts the whole orchestra and chorus
off
their feet - a magnificent sight!!
I thought Dulce Pontes was sensational, even better than previous. OK,
if you didn't already know the words to SACCO AND VANZETTI it may have
been hard to understand her words but then I didn't understand SOSTIENNE
PEREIRA and it didn't make the slightest
difference - this song haunts me for ever. The performance of CANONE
INVERSO had to be seen and heard to be believed and THE RED TENT is
one of my all-time favourites. My (very) old LP is worn to shreds.
By the time CASUALTIES OF WAR was over I was "gone" emotionally
- in concert it even rises above its already essential beauty. At the
end the entire audience was on their feet
begging for more. I had a pact with Ned Boyle from Baltimore who was
seated beside me. I promised him an Irish "yah-ooooo" for
every American "yee-hawwwww" he could produce and between
us we got another encore out of Ennio and Dulce. I can't wait for this
new CD.
It was great to meet up with Ned, Tom and the other Irish Pat. It was
great to see Michael Nyman and Professor Frayling there, two great fans
like ourselves. It was another great experience of a lifetime. The CLASSIC
FLICKS concert at the same venue last night proved to be a complete
contrast and in a much lighter vein. It was really a "popcorn"
concert and, in that respect, it succeeded extremely well but any concert
with a name like that which didn't nclude
even one Morricone theme couldn't be taken seriously. There was no real
passion from the ather different and very much younger audience. However,
the Royal Philharmonic Orchestra did provide us with wonderful renditions
of Elmer Bernstein's THE GREAT ESCAPE, John William's SCHINDLER'S LIST
and STAR WARS, Maurice Jarre's LAWRENCE OF ARABIA, and John Barry's
GOLDFINGER. I'm afraid, though, that SHAKESPEARE IN LOVE practically
put me to sleep and caused endless shuffling of feet around me.
David Arnold put in a guest appearance and conducted the opening title
which I didn't ecognise . The most amazing sight of the night was the
percussionist who, during one piece, was seen leaving his drums and
arming himself with a wooden mallet about ten foot in length following
which he proceeded to strike (batter?)in tempo the wooden surround of
what appeared to be an enormous sound speaker. It sounded like King
Kong trying to escape from his captors.
[by Pat Cleary] |
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