Christo van M.
Google
If you’ve ever wondered what Hans Zimmer would sound like if he were performed not by an orchestra but by three violins (one of which seemed determined to redefine the concept of tempo) and one cello — wonder no more. Just go to the Candlelight Concert of Hans Zimmer in Cape Town and marvel as they bravely attempt to strip cinematic scores of everything that makes them cinematic, epic or remotely enjoyable.
I’d had my eye on these Candlelight Concerts for a while, and when our dear friend gifted us tickets I thought, “Lovely! Finally!” What can I say? Despite the awe in the online reviews (which I now suspect were written by people whose main exposure to ‘classical music’ is the occasional sheep bleating or cicadas chirping on a summer night), the whole experience was dreadful. Not ‘meh.’ Not ‘underwhelming.’ Dreadful.
Hans Zimmer’s music is literally written for orchestras, for walls of sound, sweeping crescendos and layers of texture — not for three exhausted violinists and a cellist doing their best impression of a lion with laryngitis. It felt like watching someone try to perform Wagner on a kazoo. Ambitious, yes. Advisable, absolutely not.
I strongly urge you not to waste your time, money or expectations. They also offer a Vivaldi programme which might — only might — sound better simply because Vivaldi is supposed to be played on lots of strings anyway. But at this point my trust issues are profound.
Now — to be fair — there was one saving grace: the venue. The Norval Foundation is absolutely spectacular. A modernist masterpiece of glass and concrete nestled calmly in the Constantia landscape, surrounded by a superb sculpture park and a surprisingly compelling art collection. Honestly, just go there for the architecture and skip the concert entirely. You’ll thank me later.
In conclusion: Hans Zimmer + Candlelight = no. Hans Zimmer + orchestra = yes. Norval Foundation without violins on the verge of collapse: absolutely yes.