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Toronto LOTR Symphony review
By Eledhwen Jun 6, 2005, 15:38 GMT
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I’ve always been a bit of a sap at the symphony. Something about the music welling up around me has always managed to bring me to tears. I didn’t really expect that I would have that feeling yesterday as I sat in Roy Thomson Hall waiting for the Lord of the Rings Symphony to begin. After all, I’ve heard this music many, many (many) times by now between the movies, promos, LOTR parties and events, and the CDs. I knew I would enjoy it, but surely the old eyes would be safe.

Not so. Not at all.

As the lights dimmed and choral voices began to sing the opening harmonies, my skin tingled. The colour of the lights onstage changed, drawings and paintings of Alan Lee and John Howe began appearing behind the orchestra and my mind was whirling through the world that the Professor left to our imaginations.

I know a number of people who aren’t impressed by Howard Shore’s operatic score, but I cannot count myself in their number, especially after hearing it live. Conducted by Maestro Markus Huber (who has conducted at least six LOTR Symphonies), the Kitchener-Waterloo Symphony, accompanied by the Kitchener Waterloo Philharmonic Choir, did a majestic job with the score.

My favourite music from Fellowship is for Rivendell and Lothlórien. When I heard the smooth notes for Rivendell, flowing like the many waterfalls in the valley, there was such peace, such sadness. The earthy, haunting tones of the pan flute wafting just under the solo voice for Gandalf’s Lament in Lothlórien was perfect beauty and sorrow. Strong, staccato male voices punctuated the powerful tympani and brass at the Bridge of Khazad Dûm and I almost turned to see where the Balrog was coming from. At Parth Galen and the breaking of the Fellowship, on screen was a close-up of Boromir’s boat going over Rauros Falls. As the shot panned out, Boromir’s boat became smaller against the mighty fall of water and the Fellowship theme contained a slower requiem note. I could almost see Aragorn, Legolas and Gimli as they watched his boat slip away.

On and on we went through the entire adventure, the green of Rohan, the courage of Helm's Deep, the majesty of Minas Tirith, Gollum’s inner torment and betrayal, despair and triumph on the Pelennor to Frodo’s anguish and failure at Mount Doom. The poignant notes at the moment Gollum holds his precious for the last time leave you reflective and thoughtful at the brink of chaotic destruction and unbelievable victory. One of the soloists, singer Kaitlyn Lusk, performed Into the West beautifully, leading into the symphony’s finale. I’ve been to a number of symphony performances, but rarely have I stood for so long. The audience gave Kaitlyn, the orchestra, the choir and the maestro a thunderous standing ovation.

The symphony is truly an amazing work. It evokes the emotions of Tolkien’s themes and gives life to the story. I found myself thinking not of the movie images that we know so well by now, but rather of favourite passages in the books and descriptions as Tolkien wrote them. Shore’s score goes far beyond the movie and encompasses the heart of Middle-earth. Until I heard it performed live, I didn’t really appreciate this. The music comes to life and becomes a shimmering, weaving storyteller in its own right; the many themes that Shore threads through it, becoming characters and voices that you can follow.

I’ve played the CDs many times for relaxation or as background music when I write, but now I’m filled a new appreciation of this work as it stands by itself. And it does successfully stand as a marvellous symphony, independent of the film; an incredible tribute to Middle-earth. The symphony can now be heard in many places and if you can, make an evening of it. You will not regret it.

And yes, yet again, I did have tears in my eyes at the symphony. For Boromir, for Frodo, for Gollum, the Elves, the breaking of the Fellowship, the passing of an age, and the grandeur and wonder that is Tolkien’s Middle-earth.

Toronto

Toronto is Canada's largest city and the provincial capital of Ontario. Toronto's population is 2,518,772 (2004 Statistics Canada estimate); that of the Greater Toronto Area (GTA) is 5,203,686 (2004). Residents of Toronto are termed Torontonians (in French: torontois). Toronto is part of the Golden Horseshoe region of Ontario, a densely populated region of around 7 million people. Approximately 23% of the Canadian population live within the Golden Horseshoe region, and about one-sixth of all Canadian jobs lie within the city limits.

Known as the "economic engine of Canada", Toronto is considered a major world city, exerting significant regional, national, and global influence. Toronto is Canada's financial centre as well as one of the country's most important cultural, and health sciences centres. It has one of the most diversified economies in North America with the largest concentration of head offices in a variety of fields, the highest concentration of cultural workers and institutions, and the largest arts community in Canada. Indeed, in January 2005, it was designated by the federal government as one of Canada's cultural capitals. It is one of the safest cities to live in North America; its crime rate is lower than that of any major U.S. metropolitan area and is one of the lowest in Canada as well. It is ranked as the safest large metropolitan area in North America by Places Rated Almanac.

The current mayor of Toronto is David Miller. The previous and first mayor for the amalgamated city was Mel Lastman. The last mayor for the old City of Toronto was Barbara Hall.

 

 

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