ONCE MORE UNTO THE BREACH!
Merging the universes of film and music has been a passion for us for more than fifteen years. A passion that in this month of November takes the shape of a little time travel across the art of films in concert.
Do you feel inclined more to the “old school“ art of silent classics? Then a precious bunch of options comes all over Europe: diverse German cities welcome Charlie Chaplin’s THE KID and MODERN TIMES - presented with music composed by Chaplin himself - and G.W. Pabst’s PANDORA'S BOX. This masterful melodrama, plenty of lust, seduction and dark strokes, is presented with a new composition by Bernd Wilden. In addition, Fritz Lang’s science fiction classic METROPOLIS lands in Spain with Gottfried Huppertz’s original (and reconstructed) score; the revolutionary parable THE NEW BABYLON reaches Finland, propelled by Dmitri Shostakovich’s original music.
If you are curious to know about how live music melts with Technicolor, dialogues and complex soundscapes, then you can also reach out to some of our finest productions both in concert halls and on TV. In order to commemorate the 400th anniversary of William Shakespeare’s death, the Staatsorchester Braunschweig under the baton of Helmut Imig presents Laurence Olivier’s HENRY V live in concert. Matching perfectly with Olivier’s characteristic Technicolor palette, William Walton’s rousing score is certainly one of the film’s best assets. The same can be said about Don Davis’s demanding score for THE MATRIX: his unconventional music gets deep into the audience’s spine. The visionary tale proposed by the Wachowski’s comes to Hanover for three nights in a row, with Frank Strobel bringing the NDR Radiophilharmonie far beyond reality.
Last, but not least, the recent World Premiere of our film concert IVAN THE TERRIBLE is being broadcast on ARTE on Monday, November 7, 2016, at 23:10. Join Frank Strobel, the Rundfunkchor Berlin and the Rundfunk-Sinfonieorchester Berlin in an unforgettable film concert that took more than ten years to materialize! Sergei Eisenstein’s and Sergei Prokofiev’s controversial epic – presented with the composer’s reconstructed score - would have not deserved less.