Vertigo by Alfred Hitchcock, turns 60 and will be seen with an orchestra in theaters capitol

Vertigo by Alfred Hitchcock, turns 60 and will be seen with an orchestra in theaters capitol

The 15th of December celebrates the 60th anniversary of the classic Alfred Hitchcock VERTIGO with a very special screening of the film in the Capitol Cinema of Madrid. The sensational music of Bernard Herrmann will be interpreted live by the prestigious Symphony Orchestra Camera Musicae (more than 60 musicians on stage) and directed by the teacher Anthony Gabriele.

Considered the best film in the history of cinema (according to the last vote published by the prestigious magazine Sight & Sound), James Stewart and Kim Novak star in a story that transcends the usual mystery of Hitchcock films and delves into desires, passions and contradictions of the human mind. The sublime, romantic and mysterious music of Bernard Herrmann is considered one of the best musical compositions for the cinema and can be heard and enjoyed in all its symphonic splendor.

The classic Hitchock can be seen in two passes (6:00 pm and 10:00 pm) on December 15 at the Capitol cinema in the original version with Spanish subtitles..

Besides Madrid, Reel Solutions and Camera Musicae Symphony Orchestra will take this film with live orchestra to Barcelona (Aribau Cinema) and Zaragoza (Cine Palafox). We had the opportunity to speak with Ramón Lamarca, responsible for the production company Reel Solutions, to see the magic of this composition.

– How did the idea of ​​joining live music with film classics come about?

– The original idea comes from producer John Goberman in the United States, who is also the producer of Vertigo with orchestra. When watching the film Ivan the terrible one of Eisenstein with the wonderful music of Prokofiev thought that the limited recording techniques of the time did not do justice to the symphonic sound of the soundtrack. We fully agree with him, there are many great soundtracks of great composers like Bernstein, Korngold, Rozsa, Herrmann, Copland, etc. that could not be recorded in conditions for the aforementioned technical reasons and that it is worth listening in all its splendor.

– What sensations have you picked up from the public after Psycho or Casablanca?

– Very positive, the emotions provoked by the films increase without a doubt with the interpretation of the live orchestra. It is also a positive element the possibility of sharing a masterpiece of the seventh art with many more people in a theater with a large screen.

– How does the viewing of these classics improve with the music of a live orchestra?

– The films are the result of their time, including any technical limitations, and thus they must be seen; nevertheless we believe that as a unique experience it is worthwhile to enjoy them with a live orchestra and do justice to many of the brilliant compositions for the cinema, which in many cases have been interpreted as a suite in many prestigious international concert halls. It is also an opportunity for music lovers to enjoy these pieces together with the film for which they were composed. Finally, it serves for the public to understand the fundamental role of music in the cinematographic work.

– What role do you see that the soundtrack plays in this Hitchock film?

– Fundamental, it would not exist in the way we know it without the music of Bernard Herrmann. Music has a very important narrative value and explains a lot and therefore contributes elements that are not in the image and dialogue. The musical language is used in a masterful way, with brilliant harmonic resources that contribute to the audience being immersed in the whirlwind of passions that the film contains.

– How many hours of rehearsal will the musicians dedicate before the day of the screening?

– There are three days of tests, approximately 3 and a half hours each trial.

– Is it difficult for the orchestra to match its music with the rhythm of the film?

– Here the work belongs to the director, who has to make sure that the tempo is correct at all times and that the music starts and ends where it should be. Not all directors can do it, special skills and an important knowledge of cinema and the role of music in the cinema are required. We have on this occasion the maestro Anthony Gabriele, with a lot of experience directing the music of classics of the cinema and a profound knowledge of the work of Bernard Herrmann.



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