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Still, I guess you're only as good as your last game. Kitase has worked on Final Fantasy games for 20 years, while Toriyama was responsible for some of the most memorable scenes in the seventh game, widely considered one of the best. But Roth has another surprise for us: Final Fantasy XIII's creators Yoshinori Kitase and Motomu Toriyama are in the crowd! The spotlight thwacks and swivels more muted applause. The game was poorly received by many, something evidenced by the crowd's reluctant applause.
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Roth turns to the French and offers a "mercy bow-coop" before asking who in the crowd likes Final Fantasy XIII? This is the most recent core title in the series, one of the first produced without the steer of originator Hironobu Sakaguchi, who left the company under a black cloud worth $120m of lost money at the box office following his movie flop, Final Fantasy: The Spirits Within. Music is many spells – it has the power to reorder the mind, to raise or lower the blood, to produce tears or set teeth on edge – but its most powerful trick is one of transportation and, the combination of that warm Niagra of sound with these old images takes us individually and collectively to another place. Music has the power to transform the mood and temperature of an auditorium and, for the individual, it can conjure not just the emotion of memory, but also its very flavour and experience. Music is all sorts of magic, of course, and in the most literal sense of the mystical word. I'm surprised to find myself gulping back emotion. A screen sprawls high behind the stage displaying visuals from the eighth game in the series, set to the music. The set (and this is the correct terminology, as Distant World's conductor has chosen a small selection of greatest hits for the night, pulled from the many hundreds of compositions that have soundtracked Final Fantasy's 20-odd game releases) opens with the series' signature harp arpeggio before seguing into Fithos Lusec Wecos Vinosec, an operatic piece sung with gusto by Le Choeur Lamoureux.
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Nobuo Uematsu, the Japanese composer responsible for the vast majority of music found in the series slides onto stage wearing an Axl Rose bandana and Super Mario moustache to riotous noise (the good sort, not the Stravinsky sort), before descending into the audience to howls of excitement to take his position in an un-squatted seat in the crowd. The concert starts 30 minutes late, but at least everyone has a seat. A lowbrow victory perhaps, but it's difficult to imagine many other classical billings that would assemble a European city's youth gratis, let alone at these prices. Tonight they debut in France a selection of pieces from Final Fantasy – a video game series currently celebrating its 25th year – under the baton of Chicagoan Arnie Roth at an event dubbed Distant Worlds.Ĭlassical music, much to the showy mortification of its most dedicated followers, has kept its well-dressed foot in mainstream culture via film scores for the past 50 years.īut for the young audience of the Palais des Congrès, it's the video game medium that's brought them out en masse tonight. That responsibility falls to a member of the The Orchestre Lamoureux, a concert society founded in Paris by Charles Lamoureux in 1881 that performed the premieres of Debussy's Nocturnes in 19. It's a quiet pandemonium, for sure – the attendants all raspy whispers and fly-swat points as they seek to shepherd disorder into order – but I can't help but feel happy I'm not on bassoon tonight. Front-row VIP tickets cost a sharp €130, and their purchasers are lacking a certain joie de vivre on finding squatters emigrated from the cheap seats into their own, hoping for a better view. Yeah, this sell-out throng seems a bit fighty. Still, one hundred years on from the Stravinsky revolt, and a mile and half down the road at the cavernous Palais des Congrès de Paris, this aromatic crowd carry with them a threat of injury. Today, music is often the accompaniment to rioting, but rarely its instigator.
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When you get down to it, the music's where the real fight takes place, and the mosh-pit provides a peer-refereed boxing ring for those who need to pretend otherwise. But rock music wears its anger on its sleeve (as a patch?). The riot lingered, coiled and brutish for quarter of a century in the rock gigs of nethertowns spilt-pint punk, grunge brawls, hard-rock suckerpunches backed by guttural power chords.