Emma writes: It was wonderful to be back at the North Michigan Avenue Borders, where we were once again treated like welcome guests by the wonderful Mark and Molly, who’s been so kind to us at the Sean Astin signing. They remembered most of us, and their familiarity with us, and ours with them, made the whole event run very smoothly and pleasantly for all concerned. [More]
Category: Original TORn
Emma writes: It was wonderful to be back at the North Michigan Avenue Borders, where we were once again treated like welcome guests by the wonderful Mark and Molly, who’s been so kind to us at the Sean Astin signing. They remembered most of us, and their familiarity with us, and ours with them, made the whole event run very smoothly and pleasantly for all concerned.
Although some of us had gotten there earlier, the crowds were starting to arrive in large numbers by 5, so Mark let us into the seating area quite early, which made for a very comfortable wait. At just after 6, Alan Lee showed up, nearly an hour early. We were told that he had passed up resting somewhere “off stage” in preparation for his presentation, and instead (in typical Alan fashion) chose to mingle with fans and sign some early autographs.
The presentation itself was lovely, despite a snafu with a bad slide projector that necessitated having a staffer drop in each slide individually (poor guy!). Alan talked a bit about Gary Russell’s delayed “Art of LOTR” and his part in it (Gary Russell had been in Chicago the week before, which was great for those of us getting things signed by both of them), as well as the sketch book Alan himself is having published next year. His slides ranged from his sketches, to photos he’d taken during production, from armor to scenery to characters, to locations, and just flew by so fast I barely had time to take it in. There was a Q&A after the presentation, with a lot of interesting questions asked concerning his work, the movie, books, and a wide variety of things. One question, concerning whether he had a favorite sketch, saw Alan pull a drawing out of his portfolio and pass it around the room! Just amazing.
I couldn’t manage to find a way to word what I wanted to ask–which concerned how little of Kaitoke Regional Forest was actually used in creating Rivendell–but I managed to talk to Alan about that while he was signing my book. He seemed to spend more time LISTENING to his fans than autographing, which was wonderful. It was great to hear so many people want to talk to him, to ask questions or make observations about his work. Some people wanted sketches and he obliged–I hadn’t wanted to ask, myself, but when I saw one of Gandalf he’d done for another fan, I was sorry I’d been so reticent!
A few of us from the Chicago Fellowship decided to wait around and try for a group shot at the end–unfortunately, we didn’t adequately communicate that to the others, so there were only 4 of us left when Alan finished his last sketch. But it was a great night with a great artist, and I’m glad he decided to keep on with his tour despite having nothing to particularly promote on it. [Images]
ScottyJoy writes: I just got home from attending the Lord of the Rings Symphony in Baltimore. It was a wonderful evening. Howard Shore’s friend John Maurceri conducted the Baltimore Symphony with the Baltimore Choral Arts Society (100 voices), Maryland State Boychoir (32 voices), two female soloists (Susan Egan and Tammy Tyburczy), and the boy soprano who was uncredited in the program notes. [More]
ScottyJoy writes: I just got home from attending the Lord of the Rings Symphony in Baltimore. It was a wonderful evening. Howard Shore’s friend John Maurceri conducted the Baltimore Symphony with the Baltimore Choral Arts Society (100 voices), Maryland State Boychoir (32 voices), two female soloists (Susan Egan and Tammy Tyburczy), and the boy soprano who was uncredited in the program notes.
The percussion was slightly elevated across the back row of the orchestra and the choir was on risers behind them. The men were in the top two rows spanning the risers, then the next 4 rows had the sopranos (I think) on the conductor’s left, altos on the right, and the boys in the middle. The screen for the Alan Lee/John Howe artwork was in front of the orchestra hanging down from the ceiling. It was a very effective arrangement visually, and the sound was balanced pretty well.
I met one of the singers in the parking lot on his way in to the concert hall. I asked him how rehearsals had gone. He said they had had lots of vocal rehearsals because the music was difficult, not so much in the words, but the notes/chords. They had only practiced twice with the BSO – once last night and again this afternoon. He said they only had to tweak a few things. I wish I had had the opportunity to sit in on rehearsals as FredO did in Pittsburgh.
My friends and cousins and I had tickets in the 8th row Center. We couldn’t see all the orchestra members or what the percussionists were doing in the back, so maybe someone else can comment on what it was like to be able to see the more unique instruments. I was prepared for the tempos to be somewhat different based on what others have said in different cities. I was surprised that the tempo was accelerated for The Breaking of the Fellowship and Forth Eorlingas. I love those pieces and would rather they had lingered longer. The Lighting of the Beacons was a little slower than the CD, but not annoyingly so, as others have commented.
The featured instrumentalists and the soloists took their artistic licenses, which is one thing that made it unique. The other was the different balance. I really appreciate the mix on the CD now because there is so much going on that is audible. I couldn’t hear as many different sounds when it was live, but an instrument or a vocal phrase would be more prominent than on the CD. When the Chorus’ consonants came through, like their “T”s or “K”s, it was very powerful. The subtle lighting effects also added to the power, as with the red lights on the Choir during Khazad-dum.
We were a pretty symphony-savvy audience, as all the applause was held for the end of the 2nd and 6th Movements. But when we applauded, it was full of enthusiasm and appreciation. We called John Maurceri and soloists back out twice. He seemed very pleased with how it went.
It was a fabulous experience that I only wish had lasted longer, or that I could take in again tomorrow evening. The BSO was splendid, and the Chorus and Boychoir added so much. I really want to thank the singers who devoted the most time over the past weeks to making our two hour trip to Middle Earth feel so real.
Today is Dominic Monaghan’s birthday! Dominic was born on December 8th, 1976 in Berlin, Germany. That makes him 28 years old today! Happy Birthday Dominic!
Sean Astin is preparing for his second tour of the US to promote his book ‘There and Back Again : An Actor’s Tale’. Today (December 8th) he will at ‘Seattle Town Hall’ (1119 8th Avenue) in Seattle, WA. Follow the link for more dates and locations! [More]