Post by simonsbanginbabe on Jul 21, 2005 1:05:30 GMT -5
www.orlandosentinel.com
june 21, 2005
Duran Duran: Scott's orchestral point of view
The orchestra wasn't allowed to do much to enhance the sound behind the band's show.
By Scott Warfield | Special to the Sentinel
Posted July 20, 2005
DID IT WORK?
Want to find out how the unusual combination of Duran Duran and the Orlando Philharmonic turned out? Classical music reviewer Scott Warfield gives his take from the orchestral point of view, and pop music critic Jim Abbott takes a look from a more rocking perspective.
For decades, American orchestras have attempted to broaden their audiences and increase revenues through joint efforts with popular artists, ranging from legendary jazz figures to pop singers and even rock bands. The common factor in those programs is that the venue is invariably the orchestra's home hall, and the program is usually built around an orchestral sound flavored by the guest performer.
On Monday evening, the tables were turned as the Orlando Philharmonic traveled to the Orange County Convention Center's Chapin Auditorium to serve as the back-up ensemble for the '80s supergroup Duran Duran. The evening -- at least from the standpoint of anyone interested in the orchestra -- was probably less of a success than one might have hoped.
There is something to be said for the "home field advantage," and in this case the Philharmonic was clearly the visiting team, beginning with the seating arrangements. The stage was dominated by the setup for Duran Duran, as well as plenty of equipment for lighting effects, while the Philharmonic was relegated to the back of the stage, where it waited silently in the dark through the band's first four numbers.
When the lights went up to reveal the vague shapes of the orchestra's musicians through a scrim, their sound matched those indistinct outlines. There was nothing acoustic in the orchestra's heavily processed sound, which often disappeared behind Duran Duran's wall of sound.
As might be expected, the brass instruments were heard more frequently, while the woodwinds were virtually inaudible. Between them, the strings had an unearthly sound -- clearly because of the extreme amplification -- made even moreso by characterless lines that seldom did more than sustain barely audible chords behind the band. Taken as a whole, the orchestra resembled the sound of a synthesizer, which actually suited Duran Duran's techno pop sound fairly well, when one could hear the orchestra.
Throughout the evening, the Philharmonic provided some brief introductions and even two instrumental numbers, all played capably under guest conductor Frank McNamara. None of these really seemed to matter, however. In fact, lead singer Simon LeBon's "Let's get the party started," as the band launched into the first of the final five songs without the orchestra, suggests the orchestra added little to the evening. From "Planet Earth" to the end, both the volume and energy levels in the hall rose noticeably.
For an orchestra looking to drum up new business for its regular concert series, ventures like this unusual collaboration might seem a golden opportunity. Unfortunately, the crowd who ignored the Philharmonic's display table in the lobby as they pushed past to snap up $45 Duran Duran T-shirts suggests otherwise.
If only the orchestra's regular patrons were as excited about their orchestra as those nostalgic fans were about Duran Duran, the Philharmonic might spare its musicians from jobs like this concert.
Scott Warfield is an assistant professor of music history at the University of Central Florida.
Copyright © 2005, Orlando Sentinel | Get home delivery - up to 50% off
june 21, 2005
Duran Duran: Scott's orchestral point of view
The orchestra wasn't allowed to do much to enhance the sound behind the band's show.
By Scott Warfield | Special to the Sentinel
Posted July 20, 2005
DID IT WORK?
Want to find out how the unusual combination of Duran Duran and the Orlando Philharmonic turned out? Classical music reviewer Scott Warfield gives his take from the orchestral point of view, and pop music critic Jim Abbott takes a look from a more rocking perspective.
For decades, American orchestras have attempted to broaden their audiences and increase revenues through joint efforts with popular artists, ranging from legendary jazz figures to pop singers and even rock bands. The common factor in those programs is that the venue is invariably the orchestra's home hall, and the program is usually built around an orchestral sound flavored by the guest performer.
On Monday evening, the tables were turned as the Orlando Philharmonic traveled to the Orange County Convention Center's Chapin Auditorium to serve as the back-up ensemble for the '80s supergroup Duran Duran. The evening -- at least from the standpoint of anyone interested in the orchestra -- was probably less of a success than one might have hoped.
There is something to be said for the "home field advantage," and in this case the Philharmonic was clearly the visiting team, beginning with the seating arrangements. The stage was dominated by the setup for Duran Duran, as well as plenty of equipment for lighting effects, while the Philharmonic was relegated to the back of the stage, where it waited silently in the dark through the band's first four numbers.
When the lights went up to reveal the vague shapes of the orchestra's musicians through a scrim, their sound matched those indistinct outlines. There was nothing acoustic in the orchestra's heavily processed sound, which often disappeared behind Duran Duran's wall of sound.
As might be expected, the brass instruments were heard more frequently, while the woodwinds were virtually inaudible. Between them, the strings had an unearthly sound -- clearly because of the extreme amplification -- made even moreso by characterless lines that seldom did more than sustain barely audible chords behind the band. Taken as a whole, the orchestra resembled the sound of a synthesizer, which actually suited Duran Duran's techno pop sound fairly well, when one could hear the orchestra.
Throughout the evening, the Philharmonic provided some brief introductions and even two instrumental numbers, all played capably under guest conductor Frank McNamara. None of these really seemed to matter, however. In fact, lead singer Simon LeBon's "Let's get the party started," as the band launched into the first of the final five songs without the orchestra, suggests the orchestra added little to the evening. From "Planet Earth" to the end, both the volume and energy levels in the hall rose noticeably.
For an orchestra looking to drum up new business for its regular concert series, ventures like this unusual collaboration might seem a golden opportunity. Unfortunately, the crowd who ignored the Philharmonic's display table in the lobby as they pushed past to snap up $45 Duran Duran T-shirts suggests otherwise.
If only the orchestra's regular patrons were as excited about their orchestra as those nostalgic fans were about Duran Duran, the Philharmonic might spare its musicians from jobs like this concert.
Scott Warfield is an assistant professor of music history at the University of Central Florida.
Copyright © 2005, Orlando Sentinel | Get home delivery - up to 50% off
