Hans Zimmer: Live in Prague
To show that home theater and media rooms are for much more than just movie and TV watching, this week I’m reviewing Hans Zimmer: Live in Prague, available on Blu-ray Disc or for HD download from the Kaleidescape Movie Store (the version I watched).
If you’re a film fan, you’re likely familiar with Zimmer’s work, since it’s spanned the past 30 years. He has scored more than 150 films, including many for Ridley Scott, Jerry Bruckheimer, and, most recently, Christopher Nolan. Zimmer has received numerous Grammys, two Golden Globes, and an Academy Award in 1995 for Best Original Score for The Lion King.
Filmed in Prague, this concert captures an evening during Zimmer’s 2016 European concert tour where he plays 35 songs spanning decades of his work and includes music from Sherlock Holmes, Crimson Tide, Gladiator, The Lion King, Pirates of the Caribbean, the Dark Knight Trilogy, and Inception. (Sadly, this concert pre-dates Zimmer’s fascinating and intense score for Nolan’s recent Dunkirk.)
An interesting (in a good way) twist is the concert’s Dolby Atmos mix, meaning it’s recorded to really shine in a luxury home surround setup. Now, you might or might not love the decisions made in this very aggressive mix, but no one will watch this and leave wondering whether all of their speakers were active or not.
Years ago, I had the privilege of seeing Star Wars in Concert in person, an event that brought together the 86-piece Royal Philharmonic Orchestra and Chorus along with a giant high-def LED screen, measuring some 60-feet wide by 30-feet tall. This two-hour performance featured music spanning all six Star Wars films, blending music, film, lasers, pyrotechnics, and spectacle into a fantastically memorable evening.
That experience set my expectations for this concert, so I assumed there would be video and effects accompanying the score, but I was wrong. In fact, the concert opens with no dialogue or introduction whatsoever. It merely begins with Zimmer alone on stage at a piano playing the opening notes from “Driving” (Driving Miss Daisy). He is soon joined by another musician on flute, and then another on accordion, and soon there is a full stage of musicians, along with a full orchestra, and backing vocals provided by the
Czech national choir, making 72 musicians in all—including Johnny Marr of The Smiths fame on guitar.
After playing the opening three songs, and at various points throughout the concert’s 138-minute run time, Zimmer steps to the mic to say a few words, introducing members of the band, and sharing some memories or anecdotes about the compositions.
Shot digitally on Arri Alexa, the 16:9 image looks beautiful. Colors are bright and punchy, black levels are deep and solid with no banding or noise, showing off clear differences between the different shades of black in the performers’ outfits, and there is plenty of detail.
While there are no laser effects and very little accompanying video (some pulsing lights and symbols that enhance the beat, rhythm, and mood of the score, not displaying any movie footage), the show features plenty of dramatic lighting to illuminate the performers and punctuate the intensity of various tracks.
One great benefit of owning the Kaleidescape version is that all of the songs are bookmarked, allowing you to easily jump to your favorite moments, or just press the “Info” button to bring up the title listing to identify what you’re listening to.
Like Zimmer’s scoring style, the audio from this concert is big and bombastic. It also differs from the original works in that it has more of a rock concert, electronic vibe to it, which arguably works better, and is more entertaining, for a live show. “Why So Serious?” from The Dark Knight is one of my favorite Zimmer works, and here it plays a bit like a Blue Man Group performance, with heavy percussion and an intense light show that well capture the Joker’s manic personality.
Played at reference volumes, this concert is quite loud, and has a surprising amount of deep low-frequency information, especially the opening notes of “Half Remembered Dream” from Inception. In fact, while watching this I had to remove the filter on my SVS sub that boosts bass at 32 Hz to give a bit of punch to films because it created just too much low-end bloat.
As mentioned before, the Atmos mix is highly immersive and aggressive, but also . . . interesting. Often concert or performance mixes are done from either an on-stage or in-crowd perspective, but for most of this show, you’re positioned primarily in the middle of the mix, with instrumentation and vocals frequently wrapping all around the room. The primary instruments and backing vocals are mixed heavily into the front channels, but also spread overhead and into the sides. If you find yourself too overwhelmed by the Atmos soundtrack, the Blu-ray also features a two-channel PCM mix.
For fans of Zimmer’s works, this is an absolute must-get. For those who love watching live performances, or are looking for an entertaining evening at home that doesn’t involve explosions, jump scares, or the latest rom-com, this belongs on the shortlist.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.