Willoughby Symphony Orchestra | A Night at the Oscars
16 August, 2025, The Concourse, Chatswood, NSW
I have often wondered why so many talented composers restrict their output to film music. I imagine what it would be like to have a concert with a Piano Concerto by John Williams followed by a Symphonic Poem by Bernard Herrmann. Certainly many classical composers have dabbled in film music – think Vaughan-Williams, Korngold and Glass, but this has been a minor part of their output. No doubt contractual obligations are involved. These huge talents were emphatically on display at Chatswood Concourse in WSO’s “Night at the Oscars”. Nicholas Milton, ever the showman, gave effervescent introductions to the music and the soloists.
It was no surprise that the show kicked off with the Raiders March from “Raiders of the Lost Ark” but the exquisite Suite from “Forrest Gump” was a revelation to many. Another revelation was the performance of violinist and wife of the conductor Rosa Donata Milton firstly in the serene music from “Ladies in Lavender” and later in “Schindlers List”, “Angels and Demons” and “El Cid”. Rosa is concertmaster of Germany’s Gena Philharmonic Orchestra and also a highly sought after soloist and multiple prize-winner. No doubt the conductor’s appointments in Germany means that they’re not apart for too long.
One theme most familiar to myself is Gabriel’s Oboe from “The Mission”. Ennio Morricone is best known for the “The Good, the Bad and the Ugly”, but the tune by which the priest connects with the Amazon natives will last for ever – Rosa and oboist Rie Tomaru excelled here, blending with the orchestral woodwinds.
The Willoughby Symphony Choir joined for the Hymn to the Fallen from Steven Spielberg and his devotee John Williams’ “Saving Private Ryan”. While the choir was perhaps on more familiar territory with the Lachrymosa from Mozart’s Requiem as in “Amadeus” (perhaps I should have included Mozart in my list of film composers!). This was a truly moving interpretation and I hope I don’t have to wait too long to hear WSO and the choir perform the whole work.
The most turbulent piece was the “Spiderman“ theme and here the four-man percussion team came into their own with weird animal calls and using, as Nicholas mentioned, over twenty instruments. The effect was amazingly professional, but so was the whole orchestra – which goes from strength to strength. The brass section which had a huge workload deserves a special mention – perhaps even an Oscar!
