Rock Meets Classic, Linz 31-03-2010

Ian Gillan, singer with Deep Purple, and the Bruckner Orchestra Linz, conducted by Friedemann Riehle, on one and the same stage, performing rock songs in a slightly different arrangement. Would it work?

The last two shows in Germany in 2009 were - ah, let's say 'interesting' in terms of 'weather' and 'show' (actually you needed to be there to appreciate what Ian did in Ferropolis to save the show - and save that night he did!), but sound-wise a real disaster. The Tips Arena Linz (thankfully it was an indoor show this time!) is normally a sports-arena, but it can be used as a congress centre as well as a concert hall. Not too promising in terms of sound it would seem, but Rob Hodgkinson, Deep Purple's very own sound technician, told me once that there were no bad acoustics, there were only bad sound technicians ;-). To tell the truth, I have not the slightest idea if he's right or not, but there and then in Linz he did prove that he is one of the best in his profession. He provided the audience with a crystal clear sound, every single instrument in the orchestra was audible and they all blended excellently with Ian Gillan's voice and Lidia Baich's violin. But let me begin with the begin…

First came the performance of three non-DP-songs, presented by two young ladies, Nicoletta Spalas and Teresa Gadova (sorry, not completely sure about the correct spelling, as I only heard their names spoken).

They gave us 'Shine On You Crazy Diamond', 'Who Wants to Live Forever' and 'Echoes'. Me being a huge Pink Floyd fan, it was a real treat hearing these two songs live, and to me Pink Floyd's music had always some kind of a symphonic touch. So a very good start.

The orchestra went on with 'Out of Universe', a classical piece originally written by Gustav Mahler, in the version the Prague Philharmonic Orchestra have recorded recently and which was used as a movie soundtrack. But then the moment came we all were waiting for: Ian Gillan entered the stage to a big round of applause.

'Highway Star', the regular opener for DP these days, sounded very fresh and powerful in the version with the orchestra, and Ian was obviously having a great time. It was really interesting to hear how all the solos normally played by guitar and organ were performed by orchestral instruments. And what made things even more interesting was that they weren't just played, the true essence of these solos were somehow translated 'into orchestra'. After 'Strange Kind of Woman' we got 'Woman from Tokyo', which is - at least in my ears - almost predestinated for an 'orchestral treatment' (and one of my all-time favourites from Purple it is too ;-) ).

If there were but one good thing (of course there are numerous more!) that can be said about such 'side-projects' it is the fact that sometimes some wonderful songs turn out as 'stage-fit' and end up on DP's setlist, such as it happened with 'Wasted Sunsets'. First played by Ian on his 'Gillan's Inn tour', it is nowadays thankfully a regular in the shows.

For 'Ted The Mechanic' Lidia Baich joined forces on stage and she added some really attractive tunes on her violin (plus an attractive sight for the male part of the audience as well, I'd say ;-) ).

Then Ian left the stage to give room for a piece for orchestra and violin. The setlist says 'Bruch' - to my embarrassment I have no idea if it is the name of the composer or the title of the piece. After that came 'No Lotion for That', sadly the only song from 'One Eye To Morocco' played that night, and after that 'Pictures of Home', 'Perfect Strangers' and 'Fireball', the latter again with Lidia Baich on violin. Then it was again time for a ballad, and 'When a Blind man Cries' did the job nicely. But not much time for sentimentality, 'Black Night' changed mood quickly again.

So far I got the impression that the audience was amiable, friendly and appreciating but not truly enthusiastic. First of all, a seated venue is of course not very encouraging to show some 'rock-antics', and secondly I think that not everybody in the audience actually knew in advance what they would get. But with the first notes of 'Smoke on the Water' (again with violin), that changed immediately. Lots of cheering and applause, and some members of the audience even jumped up and danced a little - for Austrian standards that is basically 'rock-behaviour', believe me ;-). This having been the last song of the regular set, singer, violin player and conductor left the stage, still accompanied by a huge round of applause.

After a short break they returned, and as an encore 'Pictures of Home' was played again. To me a pretty good choice, as this song just 'works' live with its driving, almost frantic quality..

So much for the proceeding of the night, now let me add some personal remarks.

First of all, we saw (and heard) a singer in an excellent shape. He obviously enjoyed himself very much, doing things slightly different than with Deep Purple, and the most important difference was that there were almost no 'screams'. In fact I thought it's rather amazing how GOOD all the songs sounded, sung (not screamed) by a man who has still one of the most remarkable and greatest voices in rock music. I can't speak for anybody else, but I for one didn't miss a single of these screams. Not when there was so much power and intensity, so much richness and control in the vocals. I truly don't know why Ian relinquished the screams, but this was indeed a very special show, and one I savoured thoroughly. Yes, I know that this was not a Deep Purple show, but - with some quick looks left and right for flying daggers and arrows - I think that even the DP-shows would benefit from a restraint of Ian's in terms of screaming. Please don't get me wrong, I have seen my share of DP gigs, and enjoyed every single one of them to the extreme, but I isn't it so that people change, that things change? So why shouldn't songs be entitled to change too? These screams were a vital part of DP shows in the past, but - as we could hear in Linz - they are not essential any more. Not with Ian singing in his glorious, tuneful and magnificent mid-range and thus giving us such a gorgeous performance.

All in all this was an evening with great music, some surprises, some funny remarks by Ian, even some dancing steps performed by him, with a very enthusiastic orchestra who showed smiles all over and a conductor in the person of Friedemann Riehle who never left a single doubt that he was the master of the situation.

The ardour he emitted was almost palpable, and to me this was a huge contribution to the night's success. We have been told (even though he denied it himself - out of modesty, maybe?) that most of the arrangements have been made by him. As I have said a little above, he not only 'translated' the tunes of the electrified instruments into orchestral ones, he truly captured the essence of the songs and their solos and made the orchestra play it.

Lidia Baich is not a stranger to any DP fan, as she did already a couple of shows with them. First time I saw her was in Graz 2007, and I remember being amazed about how fluidly and 'eloquently' she engaged in musical dialogue with Steve's guitar. This time she was a little more part of the whole sound, only with her solo spot after 'Ted the Mechanic' she proved that she is indeed one of Austria's most respected violin players of today.

Last of all, with shows like this you get a totally new view on songs you esteem familiar. New arrangements point out lines and tunes never heard before, and everybody involved, it may be member of the orchestra, soloist, singer and even the sound technician gets the chance of 'doing things differently'. A challenge every single of them accepted, embraced, and coped with in a most convincing way.

I daresay that the entire audience left the venue pleased, a lot of them enthused, and some of them certainly with a slightly expanded musical horizon. No matter if they were classical aficionados or rock enthusiasts before.

Monika Schwarz