Review: Sydney Symphony Orchestra's Presentation of HARRY POTTER AND THE PRISONER OF AZKABAN IN CONCERT Allows Audiences To Marvel At The Music Behind The Magic

Wednesday 18th April 2018, 7pm, Concert Hall, Sydney Opera House

Nicholas Buc (Conductor) leads the Sydney Symphony Orchestra (SSO) and Sydney Philharmonia Choirs for a live performance of John Williams' score whilst HARRY POTTER AND THE RPISONER OF AZKABAN plays out on screen for a breathtaking experience. The latest in the CineConcerts to be presented by SSO at the Sydney Opera House allows fans of all ages to reconnect with the magic of the Wizarding world in a new setting.

With a global popularity J.K. Rowling's story of the boy wizard has captured the hearts and imaginations of fans of all ages so it is no surprise at the interest in seeing the work on the big screen again. The added bonus is that audiences now get to hear John Williams' fabulous score performed live by the Sydney Symphony Orchestra and the Sydney Philharmonia Choirs. Williams, who also composed the music for the first two movies, gives the cinema favourite a wonderful depth and emotion which, as Buc reminds the audience before the show, shifts into a darker gear with the third film. There is an ongoing fondness for the work as evidenced by the range of people that attended the Sydney opening night. Older audience members who would have poured over the book when it was released in 1999 and seen the movie in the cinema in 2004, right through to younger audiences where this experience may be their first taste of the wizarding world or at least the movie version.

The Academy Award nominated score utilises the full Symphony Orchestra and the Philharmonia Choirs to envelop the movie in music that ranges from subtle pan pipes to bold sweeping movements that underpin Buckbeak's flight and intense frenzy for fights. Williams has drawn on a range of influences including folk songs, medieval influences, waltzes and jazz. The vocals range from restrained somewhat solemn chants to the vibrant Double Trouble that references Shakespeare's witches from Macbeth. Having the orchestra on stage allows the audience to see the complexity of Williams' creation with a heavy use of harp and repeated themes including the violins providing an eerie high wail that accompanies the Dementors and a languid largo underpins Lupin's dispensing of grounded wisdom. There are moments of comedy with a carnival comic style to colour the absurdity of events including Aunt Marge's inflation. Seemingly disordered sound accompanies madcap moments like the Knight Bus whilst an oboe solo fits in as the snake is being charmed by the Weasley's after their return from Egypt. Piccolos twitter beneath birdsong before unsuspecting avian are dealt with by the Whomping willow. A medieval march plays out as the ghosts of the headless hunt ride in whilst a frenzied ominous tone rages during the storm ravaged Quidditch match.

For many this may be their first introduction to a live performance of classical music but it is a great way to remind people how important the older disciplines of music are and that there is more than synthesised and computer generated music available. The live performance is layered with the movies special effects and spoken dialogue but the blending and remixing of the work allows for a brilliant effect when combined. The live performance has a rich and honest sound that no matter how good the technology, can't be truly replicated by computers. The way Buc and the orchestra sit back and enjoy the movie when not required to layer in music is also endearing as this is more than just a performance, there is an interest and a connection to the work.

Buc encourages the audience to become involved in the experience and after the interval they seem to loosen, potentially too shy before. The cheers and jeers for heros and villains give the experience a fabulous pantomime feel whilst events are applauded and lines can be heard repeated from within the audience. Children and adults alike have dressed up with varying degrees of cosplay but there seemed to be less wands and owls in attendance compared to the concert of the first movie. Seeing the work on a big screen again also means that details that may have been missed before are now noticed as for most, they no longer need to focus on the plot but can absorb William's score and Alfonso Cuaron's (Movie Director) intricate work.

Whilst Sydney Symphony Orchestra's season of HARRY POTTER AND THE PRISONER OF AZKABAN IN CONCERT only has a short season, they are presenting the Concert version of the 4th film, HARRY POTTER AND THE GOBLET OF FIRE IN CONCERT in August 2018.

HARRY POTTER AND THE PRISONER OF AZKABAN IN CONCERT

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