"Lord of the Rings Symphony": Musical epic worthy to stand on its own

It's not often that an Oscar-winning film composer visits Seattle to conduct his best-known score. So it was no surprise that Benaroya Hall was filled to capacity Thursday night for Howard Shore's "Lord of the Rings Symphony," an exquisite two-hour distillation of the composer's epic 12-hour score for Peter Jackson's phenomenal "Lord of the Rings" trilogy.

The Seattle Symphony, Northwest Boy Choir, Seattle Symphony Chorale and several distinguished soloists joined Shore for a crowd-pleasing performance. By the time Norwegian-born vocalist Sissel put the finishing touches on "Into the West" (the closing song from "Return of the King," performed by Annie Lennox for the film), a long and well-deserved standing ovation was entirely appropriate.

Bouncing on the balls of his feet and bobbing his head, Shore was a lively presence on the podium. The evening's first half (each movement relating to a book within J.R.R. Tolkien's fantasy opus) was devoted to "The Fellowship of the Ring," and with its Celtic flavoring, "Concerning Hobbits" gave violinist John Weller a fine opportunity to capture the spirit of Frodo Baggins.

In contrast, "A Knife in the Dark" called for massive energy from all sections, including Japanese taiko percussion, muscular brass and the Chorale and Boy Choir. There wasn't an Orc in sight to spoil the fun, and intermission arrived on the heels of a thrilling crescendo.

It was a great night for soloists. Boy soprano David Farris, mezzo-soprano Donna L. Cole and baritone John Atcheson each had moments to shine, matching and perhaps even surpassing the official soundtrack recordings. Instrumentally, Andrei Pidkivka owned the spotlight with stellar work on Irish ney flutes and pan pipes (close your eyes, and you're in The Shire), and freelance percussionist Paul Hansen (one of several musicians singled out by Shore for post-performance attention) highlighted "Gollum's Song" on hammer dulcimer.

With arresting beauty and regal poise best described as Elvish, Sissel (a chart-topper in Scandinavia best known in the U.S. for her contribution to the "Titanic" soundtrack) appeared in a black, strapless velvet top and white satin dress, dazzling the audience with lofty range and delicate precision.

Throughout the performance, conceptual art by Alan Lee and John Howe (much of it on the deluxe "Lord of the Rings" DVDs) was projected on a screen above the choir. While offering a gentle alternative to the onstage performance (courtesy of videographer Davey Frankel), the graceful yet occasionally redundant visuals were never obtrusive, serving instead as a mood-enhancing reference to the music's place in Tolkien's saga.

Shore's musical opus is every bit as impressive as Tolkien's literary one, standing on its own as a sweeping, operatic experience, even when liberated from the majesty of Jackson's trilogy.

Jeff Shannon: j.sh@verizon.net