Iconic Sevilla Fest Movie Soundtracks for a Unique Night Out

The men leave, the music stops; The myth lives on, the work lives on, the legend lives on. tunes composed by ennio morriconeFive hundred in a career spanning 70 years, crossing generations and stirring the hearts of film lovers across the globe. Andrea MorriconeHis son has brought this legacy to life with a great show, a tribute that was conceived by the maestro himself before he left us two years ago: official festival concert, Last night we had the privilege of enjoying it for the first time in our country in the presence of over 2,600 spectators. spain squarebecoming part of the programming prestigious seville festival,

It was a particularly poignant night. Under Andrea’s baton, Seville Royal Symphony Orchestra He performed a large selection of excerpts from Ennio Morricone’s score for approximately two and a quarter hours, in two blocks separated by a twenty-minute break, with the accompaniment of the Cordovan choir. Ziryabdirector Stefano Cuccian italian piano bandantonello mao-, guitar –rocco ziffarelli-, Less –Giovanni Civitenga– and battery –maurizio di lazzaretti-, with clear descriptions of all of them as soloists as well as soprano singers on various occasions Angela NissiExcelled in some beautiful moments.

from sweet beginnings, with Il potere degli angeli, we were able to appreciate Andrea’s deep and impeccable understanding of her father’s work; Being a great musician myself, this became apparent when the evening was filled with various soundtracks The Untouchables by Eliot Nessin the beginning, until TargetFinally, Andrea immersed herself in the music of Ennio Morricone. In addition, excerpts from films introduced above the music were an additional, special delight, and were inserted establishing a very precise rhythm, which, rather than constituting a succession of different titles, was a whole, practically musical. used to make a piece of , films are cultural landmarks, timeless, frozen in time, and is this relatively recent squeeze The Hateful EightOf tarantinoor overly mature quotes from the filmography Sergio Leone, each of them evoked unique and personal memories in the audience. Between these pieces we can also find some revealing reflections, even sometimes self-criticism, by Morricone himself and some of the directors for whom he composed: Tarantino, Torntor, Joffe, Heartfelt, respectful and deeply filled with love and appreciation for him. His scores have an uplifting effect on motion pictures and rank alongside Shakespeare among the greatest of the gods of the arts.Said jeremy irons before starting Repeat,

seemed to be the main theme of everything The Untouchables So that we remember Morricone’s talent for writing masterful melodies that accompany some of the most brutal violence on screen. with the power of the righteous And Victoria we saw the leading role of Robert De Nirowhat happened from there once Upon a Time in AmericaWith its powerful series of clips while playing your main theme or Deborah’s Theme, obeyed legend of 1900The first nod of the night was given to director Giuseppe Tornatore, presenting a duet with a varied score. sicilian tribewith some great electric bass lines from Civitenga, and the now almost forgotten Suppose one night, while having dinner… whose main theme, based on the depth of bossa nova, blends 60s charm with research sounds, dodecaphony and exoticism; It was interesting to hear Morricone describe how he created two different types of music from the same elements before the Sevillian Symphony combined these two pieces; He compared it to the various constructions that can be built using the same bricks. Then the time had come for Sergio Leone’s films. It’s amazing how simple the three notes for the harmonica played here last night diego villegas, which bolstered ROSS’s catalog of composers, can draw us into sadness and beauty; it was fascinating how, through harmonica manintroduced us Jill’s Theme With which Angela Nissi wowed us. two cuts from the film until his time comeswere the nucleus of a volume of true and ecstatic ecstasy, combined with others The good, the bad and the ugly And Get down, hey!Which ended the first part.

second installment opened Theme for Ennio, for cello and piano, Andrea’s eloquent tribute to his father’s work; Antonello Mao live reel piano notes Hauser, pre-recorded, appeared on the big screen, belting out the sweet notes of the night from the cello. It was a minimalist piece compared to the duration and beauty of the almost symphonic Final Stage Coaches for Red RockOf The Hateful Eight, The images of the maestro directing the music in the studio while the tune was playing were particularly evocative. Abbey Road, Seeing him on screen with a stick in his hand, it was as if he had never died. we are mesmerized by the magnificence Alexa Furay BrandcampThe Concertmaster of ROSS Breathes Life into One of the Most Forgotten Pieces chi mai Of professionalbefore tears flow at her beauty the main topic Of Cinema ParadisoVibrating with Sicilian echoes steeped in memory, along with a sweet note of regret love Theme From the film’s final sequence, which was composed by Andrea himself when he was studying at the conservatory, to which his father added only a few harmonies.

The pieces followed each other and with them returned the memories that the wind had once taken away from us; We all remember where we were, what we were doing, who we were seeing Malena while we fell in love Monica Bellucci, its two digits, Inchinpokrity and Dispersion And the end credits help sum up the smell of the past that comes back, that nostalgic dimension that pervades the film. obeyed Battle of Algiers, a civilian investigation free of all suspicion, says Pereira, the working class goes to heaven -What a wonderful job the string section does-, burn, The music completely took over the Plaza de EspaƱa. Music for Ennio Morricone is translated as both a spiritual and a tangible element, in an emotional geometry, in a hyperbolic scale of notes floating in the void, in swirling sounds. Suspended mix of classicism. Sometimes it even seems rudimentary in its progress. The music, conducted by Andrea, also mesmerized all of us; It was cultured and popular music at the same time, simple and mysterious, it tugged at our hearts with trumpet accents, string fugues, piano, flute and guitar arpeggios, accompanied by the mystery of the oboe, when to conclude the night. we arrived Targetalways widely represented by the best Gabriel’s OboeFather Gabriel’s Mysterious Oboe, Before the Crescendo fallsThe roar of the mighty Iguazu Falls that sends shivers down our spines on earth as it is in heaven, After the proverbial farewell and greeting, Andrea orders all the musicians and singers to take their places again and leads them all in a performance here’s to youThe Song of Sacco and Vanzettiwho attained a great dimension in the voices of the Ziryab choir joan baeswho was the one who originally sang it on the soundtrack to the movie about italian anarchist brothers Giuliano Montaldo He directed. Sweet Angela Nissi Is Back For A Big Feat Twenty Of gold ecstasythe subject of The good, the bad and the ugly This we have already heard about other lesser heavenly systems. And when we all asked for more, Andrea raised her baton to repeat one last time. on earth as it is in heaven, now only interpreted as a montage on Ennio Morricone, which filled the screen with images ranging from a child to a non-adult figure. No wonder it was one of his favorite and most ambitious works, in which he often said he fully identified himself. Several books about him or documentaries about his work have been published. But music lives on top and is heard in the depths of the heart. And this concert is probably the best way to express the genius of the great maestro. Rarely has a piece of music been so aptly titled for its closing time: as on earth, so in heaven,

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