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We went to the Halloween concert and it was out of this world. NO complaints at all. A perfect night, with great music and great friends. Job well done to all involved!
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First I want to thank everyone who had a hand in putting this together! My wife and I attended last night's show and it was nothing short of amazing! Truly a unique concert all-around and something that we'll probably never see again and will certainly never forget.
Second, Violinist Sandy Cameron fucking ROCKED IT! There's just no other way to say it. She was just wild...watching her play was jaw-dropping--and that's an understatement. I'd even say she damn-near stole the show!
And Mr Elfman was amazing, of course! I'll never forget how he marched on stage and went straight to the mic and simply jumped right in. He looked like a man on a mission. It seemed as if he made it to the mic befre anyone's brain could even catch up to the fact that "oh shit! There he is!" Incredible! And his voice sounds *exactly* like it did 20 years ago!
Again, thank you, thank you, thank you to everyone for such a wonderful experience!
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Would also like to register my appreciation for the photos. Seems we both (LA and London) get a unique presentation of that song, with Helena Bonham Carter and the original.
AND it just so happened, as I write this, I am listening to the expanded La La Land Batman! After listening to Alice in Wonderland for perhaps the zillionth time since I picked it up recently.
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L.A. Weekly's Review:
DANNY ELFMAN'S INCREDIBLE CONCERT OF TIM BURTON FILM MUSIC
by TIM GREIVING
EXCERPTS:
The program ran breathlessly through the 25 years of cinematic collaboration between Burton and Elfman, a macabre match made in movie-lover heaven, from their very first project together (1985's Pee-Wee's Big Adventure) through last year's Frankenweenie. The members of the Hollywood Symphony Orchestra -- comprised of LA's premiere studio musicians, many of whom played on the original score recordings -- nailed Elfman's distinct personality and writing voice, flawlessly capturing the energy, disjointed humor and melancholic beauty of his rich body of work for Burton's films.
There wasn't a dull selection on the menu (though some, like the suites for Burton's more recent films, were certainly less iconic), and the flow moved the crowd of 7,000 through effectively alternating moods -- following mischievous insanity with gothic power and then heartbreaking tenderness. The former was characterized by the ironically ecclesiastical refrains of "day-o" sung by choir in the Beetlejuice segment, and the power found most pointedly in Elfman's indelible, thunderous anthem to Gotham's favorite son in a combined suite for Batman and Batman Returns.
The finest moments included the suite from Edward Scissorhands, a fan-favorite dripping with icy heartbreak and anchored by Elfman's Jewish folk melody for Edward (with a virtuosic interlude provided by a "gypsy band," led by violinist Sandy Cameron's incendiary fiddling); the choral ode to Alice in Wonderland, an infectious melody that rides a minor-third ostinato through Lewis Carroll's brain by way of Burton's; and (my personal favorite) the suite from Big Fish, which began with a bittersweet guitar/violin duet of the score's love theme and bubbled up into choral-backed, orchestral triumph.
Under conductor John Mauceri's confident direction, the orchestra and Page L.A. Choir validated and reinforced the energy of the audience, which had a hybrid vibe somewhere between a traditional symphonic performance, a rock concert and a sporting event. Every aspect of the evening was well-planned and executed without a glitch, down to the effective use of accompanying visuals -- a mix of film montages and Burton's own hand-drawn doodles, which stepped out of the way for half of each suite to give the musicianship the spotlight.
It was an inspiring example of how to do a film music concert that should be forever imitated -- a thoughtfully curated and varied program honoring the important marriage the music has to images while also letting the music breathe and come to life on its own. Add the best musicians in L.A., all of them the leading specialists in film music performance, and you get an evening truly worthy of the reclusive pumpkin king.
FULL REVIEW
ttp://blogs.laweekly.com/arts/2013/11/danny_elfman_tim_burton.php
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Sniff... I went to the Detroit concert. While it was light on star power, the DSO performed admirably. Strangely, they did not perform any music from BATMAN RETURNS, and there were issues with the video presentation. The pieces were not introduced with title cards until after the intermission. I actually thought the later scores — FRANKENWEENIE to picture, the suite from DARK SHADOWS — were some of the performance highlights. Conductor Teddy Sperling couldn't stop himself from bouncing during the entire concert... Did anyone have a better time than him? Maybe me 
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I'm too drunk right now to say anyuthing meaningful, but graet review.
All I'll sau before I go to bed is -- hop ehtere willl be more Elfman concerts. Even including non-Bureton material.
Thor. Your post reads like mine when I've been to the pub for a session! I often read mine back the next day and think "oops"! The above one I sent after an afternoon refreshment in two of my 'locals', though thankfully short trips!
But that's the reason I think I waffle on about listening to the cds, though it is true that since the UK concerts I have been playing both the expanded Batman (bought ages ago but not listened to much till now), and Alice in Wonderland (never seen or heard 'till very recently, the cd listened to incessantly), and had Batman on when I decided to have a look at the forum.
Nice pictures btw, and great review. And I do agree with one of the reviewers who says they got the ratio of visual treats and music right, letting the music speak. As a veteran of all but one of the Murray Gold Doctor Who concerts where they're keeping the kids entertained with monsters and whatnot, I know what I'm talking about!
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