![]() Now you can experience the sensational story live on stage, as Langdon and Neveu follow the trail of clues and race to uncover the truth in the greatest thriller of the past 2000 years. Translated into over 50 different languages, with author Dan Brown named as one of Time’s 100 most influential people and adapted into a smash-hit movie that grossed over $750 million, THE DA VINCI CODE surprises at every twist. The pair must decipher the labyrinthine code before a shocking historical secret is lost forever.īased on the best-selling novel of this century, with over 100 million copies sold, unlock the secrets of THE DA VINCI CODE in the world premiere stage adaptation of the international phenomenon. With guidance from teacher and friend Sir Leigh Teabing, played by family favourite Danny John-Jules ( Red Dwarf, Death in Paradise), Langdon and Neveu embark on a breathless race through the streets of Europe. Follow the pulse-racing journey as Professor Robert Langdon, played by Christopher Harper ( Coronation Street), and fellow cryptologist Sophie Neveu ( Hannah Rose Caton) attempt to solve the riddles, leading to the works of Leonardo Da Vinci and beyond, deep into the vault of history. The curator of the Louvre has been brutally murdered, and alongside his body are a series of baffling codes. The blockbuster story that captivated the world is now an epic stage thriller. Given the way this score turned out and Zimmer and director Ron Howard\'s past work together on Backdraft, I am greatly looking forward to The Da Vinci Code, despite having found the book mediocre.Due to the continued impact of the effects of Covid, we regret to inform you that The Da Vinci Code will no longer visit His Majesty’s Theatre from 19-23 July 2022 and all performances have been cancelled. This cue is uplifting in the same way as "Resurrection" from The Passion of the Christ and is the single best cue of the year. This cue combines the horns with the powerful strings, the eighth note motif, and the choir to create a truly astounding piece. While there is very little brass presence here, after the brief appearance in the opening cue, Zimmer finally brings in the French horns in the final score track, "Chevaliers de Sangreal", which is in 6/8. The dark mood is only broken a few times by a solo piano. The Da Vinci Code Dan Brown's international bestseller comes alive in the film THE DA VINCI CODE, directed by Ron Howard with a screenplay by Akiva Goldsman. Oddly enough, despite the lack of a prominent main theme, the score remains very cohesive due to the consistent tone. Together, they race across Europe and against the clock to stop a virus that would wipe out half of the world’s population. Much of the score has a tense, low string-dominated feel, like the cue from Gladiator, "Patricide". The album ends with a choral piece, "Kyrie for the Magdalene", written by Richard Harvey, which is a very beautiful song and greatly adds to the tone of the score. It is along the lines of Debney\'s Passion of the Christ and Gregson-Williams\' Kingdom of Heaven, and was conducted by Nick Glennie-Smith. The string\'s are given a heavy treatment, as Zimmer has done in some of his more dramatic scores, but it Zimmer\'s use of the choir that is a step above anything he\'s done before. Tillman\'s performance is mostly with an acoustic cello, but is featured prominently. A second common staple for Zimmer\'s scores is the use of cellist Martin Tillman, joined here by Gregson-Williams\' usual suspect, Hugh Marsh, on electric violin in the opening cue and "Rose of Arimathea". This is not a prominent motif in this score, but I like its use to add a sense of motion to the music. I have noted a moving eighth note motif that has been appearing in a number of Zimmer\'s works (see review for The Island), which is used here in the opening cue, "Dies Mercurii I Martius", and "Chevaliers de Sangreal" in a very similar way as Batman Begins. There are similarities to recent Zimmer scores, namely Batman Begins. There is less thematic development than usual for Zimmer, but this score is more atmospheric in function. ![]() There are some electronic elements here, but very little stands out. The Da Vinci Code has similarities, but I also see a shift in Zimmer\'s style. Hannibal had a classical feel to it, while some of Zimmer\'s less-known scores, such as The Pledge and Invincible (co-composed with Klaus Badelt) had a dramatic, string-driven style. ![]() To begin with, the score, as a whole, is tragically beautiful, which is not something that is normally heard from Zimmer\'s music. I was not sure what to expect from Hans Zimmer\'s score to The Da Vinci Code, nor was I sure what to make of it upon my first listen.
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