'Nevsky' pairs image and music

The Festival Orchestra appeared to swell Thursday at the Musical Arts Center as it played the long, loud opening notes of the dramatic score to the 1938 film "Alexander Nevsky." The trombonists belted out an ominous bass line, supported by the timpanist beating menacing, thunderous rolls and bangs. \nAs the Prelude of Sergei Prokofiev's score slowly receded to a beautiful, sad piece driven quietly by the string section, the lights on the grand stage faded almost to nothing. A screen hanging center stage simultaneously came alive, projecting the opening credits of Sergei Eisenstein's Russian nationalistic movie, and thus began an audiovisual feast that, by the end of the evening, more than quenched the senses. It stirred the soul. \nThis unique event, combining film and a live orchestra and chorus, was presented by the School of Music to commemorate the 50th anniversary of Prokofiev's death. Both ensembles were conducted by renowned maestro Erich Kunzel who for 13 years has conducted the National Symphony Orchestra during "A Capitol Fourth," the annual July 4 concert televised from the grounds of the U.S. Capitol. \nKunzel led two ensembles of approximately 95 orchestra members and 150 singers with such precision the ringing of tubular bell beaten by the percussionist was in perfect synchronization with the image of a ringing bell seen onscreen. \nAnd when both ensembles were approaching a crucial musical climax, Kunzel would signal a pause, allowing for an actor to say his line, then immediately resume the music. The perfect timing was breathtaking. Eisenstein's "Alexander Nevsky" is noted for the director's attempt to fuse image and music. \nThe dramatic storyline lends itself to varied musical interpretation. It centers on historical Russian figure Alexander Nevsky, a 13th-century Russian prince who is regarded as a hero for uniting the Russians against an invading Swedish army in the year 1240. In the movie, Nevsky proves himself a hero again two years later, when he leads the residents of Novgorod in battle against invading German Knights of the Teutonic Order.\nIn an age where Hollywood seems to insist upon the often needless use of music in so many movies, it was nice to see a film where image and sound seamlessly complement each other. \nIn building toward a most climactic scene -- the clash between Russian and German forces -- Prokofiev provided each battling side a musical theme. The Germans advanced carrying tall spears and wearing menacing iron masks. The army's brute force made even more ominous by what seemed like a religious chant accompanying the image. \nMeanwhile, the Russians surveyed the horizon anticipating the German attack. Theirs was a quiet but forceful theme full of suspense, played by the strings. The images and music went back and forth, and as the German's neared, a Russian said to the prince, "It's time." Prokofiev's two themes combined to produce a climactic, almost exhilarating energy, and the gap between the two forces tightened until silence -- then the battle sounds of clashing iron swords. \nThe most moving moment of the evening came during a solo by mezzo-soprano Sophie Roland. She sang a piece as Olga, a maid from Novgorod who had promised to marry the braver of two soldiers who had asked her to choose between them.\nHer sorrowful, buttery voice was accompanied by images of the slain, her two suitors lying amongst them. Barely alive, one managed to pull his limp body to the other, cradling his head and asking him if the voice he can hear is that of their Olga. \nThis epic, nationalistic movie received much acclaim in 1938, some of which could be attributed to the Russo-German political situation at the time. But it was also hailed for its depiction of the battle. What was most impressive was the large number of actors Eisenstein enlisted for the battle sequences, and his ability to get inside the crowds and film close-up sword fights. It was surprising, however, that he didn't simulate blood or wounds, an absence that seemed especially odd when the camera was surveying the wounded on the battlefield and the accompanying singer sang, "Their crimson blood has drenched our Russian soil." \nEisenstein successfully achieved a medieval setting with simple, appropriate costumes and he conveyed the story's power with creative camera angles and sweeping sets.\nUltimately, however, it is the pairing of these images with dramatic, exhilarating music that draws the audience into the straightforward story. And the IU Festival Orchestra and chorus' elegant and powerful performance made this unique experience memorable.