2023-05-17 16:20:33
Hans Zimmer has nothing to prove. He has already made history as one of the greatest composers of great movie scores. For them he has received multiple awards, including two Oscars for ‘Dune’ and for ‘The Lion King’. His music has accompanied films such as ‘Gladiator’, ‘The Last Samurai’, ‘Dunkirk’, ‘Top Gun’, ‘Rain Man’, ‘Thelma & Louise’ or ‘Pirates of the Caribbean’, among many others. His way of capturing and accompanying the action of the images is infallible, as is the way in which he gives life and imprints character on the characters. Music and images merge into something unique, in complete harmony. That is one thing, and what Hans Zimmer Live offers is another. His music is captivating, of course, the audience was very devoted, but without being accompanied by the strength of the images for which it was designed, it seems like something is missing. Because her pieces were created to accompany images and give life to characters. His European tour ended last night in Madrid, and he did so with a full house at WiZink. Given the success of this tour, two dates have already been confirmed for 2024, on April 24 at the Palau de Sant Jordi and on April 29, again at WiZink.
His show works for the general public. It is one of those entertainment shows aimed at a family audience, with all the connotations that this entails. In my opinion, the result is excessively long, with a duration of more than two hours. The lighting design is effective and highlights the changes of state and musical impulses. The sound is impactful and quite juicy for a large space like the WiZink. But the visuals sometimes fail due to their naive touch, due to lack of strength or simply because they do not accompany too well. Although sometimes they turn out (in ‘The Last Samurai’, in ‘Interstellar’ or with James Bond) on other occasions they are forced or unconvincing (‘The Lion King’, ‘Pirates of the Caribbean’). He is accompanied by an impressive band of more than 30 musicians including strings and brass, percussion, keyboards, singers, including guitarists Guthrie Govan and Nile Marr (son of Johnny Marr, from The Smiths), cellist Tina Guo, flutist Pedro Eustache or the vocalists Loire Cotler and Lisa Gerard. And they have impeccable sound.
There is no doubt that his classics of ‘Dune’, ‘Gladiator’, ‘Pirates of the Caribbean’, ‘Wonder Woman’, ‘Interstellar’, ‘Top Gun: Maverick’, ‘The Lion King’ or James Bond (John Barry through) , ‘El Último Samurai’ or ‘The Dark Knight’ work perfectly but the result becomes a ball when you stretch the compositions or resort excessively to blows of obvious sensationalism: eternal guitar solos as if it were a heavy guitarist, to those ups and downs or to an epic blowjob. Of course, his pieces are universal from the moment he manages to transmit emotions, acts and vital pulses. But that is not why he should fall into the reiteration of formulas or resources at times, which if they work well can become saturating. And something like that happened to me last night. This certainly does not mean that he does not value the merit of Zimmer’s work and the musical heyday that he achieves live with his musicians. Because Zimmer has successfully managed to bring the classic to the general public, and mix it with popular music. And that is commendable. But the more than two hours seemed a bit eternal.
On the other hand, I was convinced by the detached humanity. Zimmer won me over with his simplicity and his humility, and with his speech, or with facts such as the fact that he has hired Ukrainian musicians, his solidarity with the Venezuelan people, the gratitude expressed to his musicians or the farewell greetings to all his musicians. . And I was moved by many moments, especially ‘First Step’. The ideal climax to the Hans Zimmer Live show was a piece that he himself described as “very special to me”, ‘Time’ from the film ‘Inception’, where the score gains in detail and the pulse grows to its peak. Definitely, a powerful experience that casts a spell but lacks visuals.
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