By Jessica Neu
As conductor Moon Doh takes the stage with a Harry Potter wand in hand, you get the feeling that something, dare I say…magical is about to occur. Doh introduces the evening’s performance as a “journey from film to life” as the Pittsburgh Symphony and the Mendelssohn Choir of Pittsburgh are set to perform the score to Harry Potter and the Prisoner of Azkaban. Audiences watch the film projected on the massive screen suspended above the symphony and enter Hogwarts with a sensory-stimulating experience like none other. We were encouraged to clap during our favorite scenes, cheer for our favorite characters and, of course, identify as one of the four personalities: Gryffindor, Slytherin, Hufflepuff, or Ravenclaw.
The Pittsburgh Symphony plays composer John Williams‘ score with razor-sharp precision as their notes must align perfectly with the film’s action. It took a moment for my brain and my body to adjust to the experience. Where do I look? Typically, the focal point of a symphony is the musicians. Now, we need to look above the musicians at the film, but the sound from the music remains the auditory focal point. This multi-dimensional sensory performance brings non-diegetic sound to the forefront of the cinematic experience. Even if you are unfamiliar with the Potter franchise, you cannot help to become emotional during scenes such as Harry flying over the land of Hogwarts on a bird-like creature called a Hippogriff. Harry soars with his new friend, but the symphony takes the scene to an unknown height, seemingly intensifying Harry’s emotions and also heightening your emotional investment. The music during the Knight Bus scene seems to add speed to the contorting vehicle as it races through the London night, and the dramatic crescendo during Harry’s free fall after losing his broom during a Quidditch match adds suspense and depth that you simply do not have when watching the film in its original format.
Williams’ score is brilliantly and deservingly brought to life by the PSO and Mendelssohn Choir of Pittsburgh. The nuance of his music is highlighted as fans will begin to understand why Williams is a fifty-two-time Oscar nominee, making him the Academy’s most-nominated living person. A veteran film and television composer, Williams’ music provides an idyllic landscape for the PSO and Mendelssohn Choir, who showcase their immense musical and vocal prowess as Harry begins to explore and avenge his parents’ death.
However, Azkaban’s intensity and meaningful themes are not lost in the symphonic format. Whether you have seen every Potter film or this is your first viewing, the themes brought forth by the dementors of forcing someone to recall and face their worst fears, and remembering that happiness can be found even in the darkest of times if you remember to turn the light on, can resonate with any audience member. Whether you are a Gryffindor or Ravenclaw, Symphony season subscriber or first-time attendee, young or old, this performance will fill you with rich symphonic overtures, make you laugh, and of course, believe in magic.
Unfortunately, Sunday the 29th was the last of two performances of Harry Potter and the Prisoner of Azkaban. Fans of John Williams’ film scores should check out the upcoming The Music of John Williams PSO concerts on February 17th and 19th.
Categories: Reviews
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