The Royal Opera House Muscat presented Disney’s family favourite, “The Lion King, live in concert” for two sold-out performances last weekend. Film lovers of all ages were eager to relive the wonder of Disney’s 1994 animation, or experience its powerful story for the first time with live orchestral accompaniment.
Bang on time, 74 musicians from the Armenian State Symphony Orchestra took their seats on stage beneath the especially erected giant screen. Finnish-American guest conductor, Erik Ochsner, ran to the podium with great enthusiasm and introduced the visiting orchestra. He welcomed the audience, inviting everyone to immerse themselves into the movie screening, perfectly synchronised with the huge symphony orchestra in front of their eyes, creating a three-dimensional sound world.
As Ochsner’s baton was raised to Hans Zimmer’s award-winning score, viewers were immediately transported to a Disneyland of African drumming and its wild savannah kingdom. The opening “Circle of Life”, composed by Elton John and Tim Rice, began with Lebo M’s original Zulu vocals, ‘ingonyama bagithi baba’ (Here Comes The Lion, father) over the credits. It marks the moment the young Simba is held up by Rafiki (Robert Guillaume), an old mandrill shaman and advisor, for all the animals of Pride Rock to see.
The gorgeous first scene introduced the uptight hornbill, Zazu, as the majordomo to the king, humorously voiced by Rowan Atkinson. Mufasa gives his young son a hunting lesson and Zazu becomes the butt of the young lion’s antics in ‘The Morning Report’.
Simba encounters Scar, the lion-villain, interpreted brilliantly by the deliciously camp voice of Jeremy Irons. Scar wants to be King and thus spends his time trying to kill or banish his young nephew. He piques the cub’s curiosity in the Elephant Graveyard by cunningly reminding him that he has been strictly forbidden to enter by his father, Mufasa.
Simba asks Nala, his best friend and betrothed, to come with him to the graveyard, accompanied by Zazu. There is some flippant levity in Rice and John’s calypso-style “I just can’t wait to be King” sung by a boastful Simba with an assorted ensemble of technicolour animals on the way.
The cubs venture further into the lurking danger of the Graveyard. Scar’s henchmen, a trio of dysfunctional hyenas headed by Whoopi Goldberg, appeared out of eerie sculls and provided the menacing dark humour in ‘Lion King’. Luckily for the pair, they are rescued by Mufasa before they come to any real danger.
‘Be Prepared’ is a seductive, sleazy Tango sung to the hyenas (voice of Jim Cummings) which reveals Scar’s evil ambition to usurp his older brother’s throne by promising the hyena pack hunting rights in Pride Lands. An attempt at assassination by Scar leads to Mufasa’s death, reflected in a beautiful musical sequence featuring the woodwind and string sections. As Simba is overcome with grief, crying over his father’s lifeless body, a mournful lament was heard on solo block-flute (recorder) by flautist, Veronika Simonsen. It forms the prelude to his exile, deceived by Scar into believing that he is guilty of Mufasa’s death.
Simba is rescued by two outcasts, a meerkat named Timon and Pumbaa, a naive warthog. He spends his formative years under their hedonistic influence in an idyllic, carefree oasis with their motto “Hakuna Matata” (‘no worries’ in Swahili). The well known anthem was enjoyed by the audience, who sung along or danced in their seats to the rhythmic playing of the Armenian musicians.
After a short technical delay part two began with a lively musical medley of familiar numbers, including Hakuna Matata. The iconic ‘Wimoweh’ chant of “In the Jungle, the Mighty Jungle, the lion sleeps tonight” was adapted from the 1939 South African, ‘Mbube’ and set a light-hearted dance mood.
John and Rice’s romantic, “Can you feel the love tonight” was beautifully performed and added lyrical intimacy to Simba and Nala’s reunion. The fighting which ensued when Simba decided to return and reclaim his kingdom brought out the emotional breadth of Zimmer’s instrumental composition style. The brass section underscored the battle scenes splendidly while the percussion amplified the intensity of the threatening fire looming underneath. After Scar was finally mauled to death by the betrayed hyenas, rains quenched the drought and a new calm was symbolised in Zimmer’s sweeping orchestration and complex harmonic language.
The “Circle of Life” theme reprised with African drumming and chanting as the lush green savannah completed its cycle of destruction and renewal. Curtain calls, clapping and adulation continued for a long time before the audience moved reluctantly out into the Muscat night air.
Photos by Khalid Al Busaidi
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