It brings me great joy
to say that I spent most of Saturday listening to great musicians. A long time
ago, I booked tickets to two concerts that happened to be in the afternoon and
evening of the same day: the West Australian Symphony Orchestra and Michael
Bublé! Everything’s been pretty hectic recently, so I’d completely forgotten
about it until a few days ago, which was a lovely surprise and I spent the week
leading up to it getting excited for a little weekend music therapy.
Escargot in an adorable takeaway box; what more do you need?! |
I left the house at
lunchtime and made my way to the train station via my favourite Cottesloe café,
Cimbalino, for takeaway fuel in the form of coffee and a pastry. After the
half-hour journey into the city, I changed trains onto another line that would
take me east to Burswood. The WASO concert was in the Crown Theatre, which is
joined to the very swanky casino complex that overlooks the city from the other
side of the river. Once I’d found the right floor and purchased a ridiculously
overpriced drink, I queued up to take my seat ahead of the 2pm start time.
It was at this point
that what I should have considered when booking finally dawned on me. The
concert was a showcase of the music from the Disney Pixar films, so naturally
the gross majority of the audience was under eight years old. Gross was the
appropriate word; as a music boff who loves nothing more than the atmosphere
when an entire audience is transfixed into silence, I envisaged the chattering
kids completely ruining the whole experience. I’m pleased to say, however, that
the concert was so incredible that I managed to block out the fidgeting and
complaining going on around me. I saw WASO play a selection of classical and
film pieces back in December in Langley Park and they were just as sublime as they
were back then.
What really made this
concert different was how the combination of audio and visual components came
together so beautifully. The orchestra played a short montage of music from
each film, running in chronological order of when they were released, all in
front of a big screen playing clips. It was fascinating to watch how far the
animation has come on, from Toy Story in 1995 to Monsters’ University, released
last year. While the majority of people were focussed on the screen, my
attention was drawn to the conductor. In order for the music to be in time with
the video, he had a screen in front of him with the beat appearing in flashing
lights and the barline moving from left to right for him to follow. Everything,
down to the tiniest rall and upbeat, had to be in perfect unison with the
video, which must have been insanely difficult and perhaps restricted his
interpretation of the music. In my experience, conductors often experience some
spontaneous feeling that makes them want certain parts played differently every
time, which is why it’s so important to watch the baton (for all those who say
“what’s the point of them standing there and waving the stick?”)!
Of course, the real
star of the show was the music. Each Pixar score has been created by one of
only four composers: Randy Newman, Thomas Newman (cousins; what I wouldn’t give
for some of those genes), Michael Giacchino and Patrick Doyle, a Scot who got
called in to do Brave, which I really want to see now! Giacchino has to be my
personal favourite, as all the Pixar scores I’ve been lucky enough to play are
his: The Incredibles, Ratatouille and Up. The stories really would be nothing
without the music and it astounds me how so much emotion can be crammed so
cleverly into the pieces. Take the tearjerking five-minute opening of Up; it’s
been said that the sequence says more about relationships than a lot of
full-length romance novels and I tend to agree. I get goosebumps every time and
welled up a little bit watching it played out in the flesh. Naturally, my eyes
were firmly fixed on the man playing principle clarinet, who was amazing and
had some truly beautiful parts. I’d have paid a lot of money to be in his
shoes! There was also a little light entertainment in the form of the token,
wildly gesticulating flautist sitting in front of him… talk about overkill. I
don’t know why so many people do that; don’t sway all over the place, just
play. You look silly.
As the lights came on,
the parents dried their eyes and the children breathed a sigh of relief that
“all the boring old music” was over. They don’t know they’re born! I left Crown
and made my way back to the city on the train, trying to dodge the showers that
had started. What’s with all this rain lately?! With a few hours to kill, but
not enough time to justify going home, I went to our favourite Japanese kitchen
Taka’s for dinner and a couple of BYO ciders. As 7pm came around, I made the
very rainy walk through the city, packed with people out for Saturday, to Perth
Arena. Observation number one: It’s bloody huge! I’ve never been to a proper
arena show before and couldn’t believe the scale. I had quite a good seat on
the right hand side and settled in for a few hours of swooning.
As the arena filled, I
couldn’t help noticing that there was a very high concentration of 50+ women
milling around in their Saturday best. I felt very underdressed in my jeans and
flats and was probably caught gawking at some of the outfits I was seeing;
mutton dressed as lamb immediately sprang to mind as my glance in every
direction was met with some old dear pulling down a skin-tight skirt or
rearranging some cleavage. Shudder. Not sure whether they were intending on
secuding Bublé or what, but you can’t blame them for trying!
The lights went down
and I was delighted to discover that Naturally 7 were the support act. It pains
me to think that 99% of the audience didn’t know who they were or appreciate
how talented they are; they’re a 7-piece acapella group of awesome black dudes
who create songs that sound like they have a full band accompanying them, just
using their voices. They’ve been around forever and it was great to see them in
the flesh!
After an hour of sweet
sweet harmonies, it was time for Bublé to make an entrance, and boy did he
succeed. Phwoarrr; he is one sexy, sexy man! He obviously sang flawlessy the
entire time, but he’s also a great entertainer and hilariously rude at times. The
face of the lady sitting next to me when some of his chat got a little X-rated
was priceless. His band were unbelievable and he did a whole segment letting
each of them improvise, which was really nice to see. In other words, despite my
jesting about the old biddies, I screamed along with them like a fan girl. I
associate him with ballads, but he did a lot of upbeat numbers and popped up on
a little stage right in front of my section to do a few Motown numbers with
Naturally 7, which were my favourites.
It's not Bublé without a heart-shaped confetti canon... |
With an encore ending
in a load of fire canons going off, he was gone and it was time to trudge home
through what had become a downpour. By the time I got home, I resembled a drown
rat and was still shivering half an hour after a hot shower and getting wrapped
up in a blanket. Not a huge fan of winter approaching so quickly! I very much
enjoyed both concerts, but the connection on such a personal level meant that
Pixar had to be my favourite. If anyone hears of a vacancy for a clarinettist
in an orchestra specialising in the music of animated kids’ films, let me know!