Review: THE LORD OF THE RINGS TRILOGY, Royal Albert Hall

It takes just under ten hours to appreciate J. R. R. Tolkien’s masterpiece if you watch Peter Jackson’s epic trilogy one film after the other. For many fans, it’s a yearly occurrence to gather with friends to re-watch Frodo and his band of brothers fighting evil to save the Shire. This year you can do things differently. The Royal Albert Hall rings in the 25th anniversary of The Fellowship of the Ring with a celebration of their own, showing Jackson’s magna opera in its entirety, accompanied by the London Philharmonic Orchestra, the London Philharmonic Choir, and the Trinity Boys Choir. As far as movie marathons go, you can’t beat the glamour of attending one of the most iconic franchises backed by a live orchestra in a magnificent setting like the Hall. 

Ludwig Wicki conducts a large-scale wonder, creating magic under the threatening eye of Sauron. Lightly lit underneath the humongous silver screen, his ensemble brings an ephemeral quality to an otherwise crystallised medium. Besides the fact that the Orchestra is a bona fide spectacle in itself, there’s something about that steady reminder that there’s live art being added to a 25-year-old film. Seeing all three back-to-back in such a focused environment brings to focus a variety of reflections on Howard Shore’s colossal score.

The celebrated leitmotifs have the chance to pop throughout the viewing experience, and the idiosyncrasies of the musicality belonging to the individual works is emphasised thoroughly. We acknowledge the recurring themes as they journey across Middle Earth, which become more melodious or strident depending on where our heroes are in the timeline of the events. The choral choices follow suit. From the light harmonies escorted by playful violins of the Shire to the resounding male voices and thunderous percussion of the Mines of Moria, it’s an eye-opening, hair-raising re-watch. It’s striking to also notice how much more embedded the soundtrack is in the progression of the trilogy.

In comparison, the score dots The Fellowship of the Ring, mostly featuring numbers that add tension or significance, but it becomes more present from The Two Towers, ending with a near-constant incidence in The Return of the King. The nature of Shore’s compositions is further highlighted by this full immersion in the IP. As we’ve briefly mentioned, the dulcet tones that accompany Frodo et al. through the hills are quickly replaced by the drums of war and great horns as they leave the Shire. The immense battle scenes are cued in by monumental soars of the strings and the rhythmic pounding of the timpani, before the woodwind section sweeps in to bring us back to safety.

This is event cinema at its best. This story of unwavering friendship and loyalty in the face of the worst of perils gains new value, highlighting an achievement that won Shore three Academy Awards, two Golden Globes, three Grammys, and many other commendations. It’s another indication that the musical contribution drastically transforms the reception of a narrative. By placing the musicians in the foreground, we stress their crucial involvement. It’s also the starting point of a broader rumination on the collaborative essence of all art.

Putting on a The Lord of the Rings watch-party at home – regardless of the size of your screen or the standards of your sound system – will never be the same as watching it in a room full of other people, some of whom are actively participating in the creation. Adding a human element to an immutable opus alters its very chemistry. This is the rarest opportunity to enjoy the quintessential movie marathon in style.