Attempts to mix horror with orchestral music usually end in disaster, with zombie violinists unable to keep time due to decaying limbs and Frankenstein howling in terror at the sound of Igor Stravinsky's Firebird Suite. View a true synthesis of terror and tunes with today's Groupon: for $35, you get a ticket to the Dallas Symphony Orchestra’s live accompaniment to Alfred Hitchcock’s Psycho at the Morton H. Meyerson Symphony Center. This Groupon gets you best available seating—either orchestra floor or dress circle— to your choice of the following performances:
- Friday, October 29 at 8 p.m. (a $71 value)
- Saturday, October 30 at 8 p.m. (up to an $83 value)
To celebrate both the 50th anniversary of Alfred Hitchcock’s classic non-rocky horror picture show and the general pro-fear vibes of the Halloween season, the Dallas Symphony Orchestra will perform Oscar-winning composer Bernard Herrmann’s chilling score in its entirety as the film is projected onto a screen behind it. The all-strings soundtrack is as much a character in the film as Norman Bates or his beloved mother. Opening the film is an unsettling overture punctuated by frantic pizzicatos and constantly shifting time signatures that seem to mirror the erratic thinking of a lunatic. As Marion Crane prepares to steal the money, the music seems to creep around the corners of the frame as if afraid of getting caught. Amid the cello’s relentless rumbles and viola’s increasingly hysterical screeches, a mournful melody rises and falls with the windshield wipers as Marion drives the lonely road to the Bates Motel. It all culminates in the legendary shower scene, as the violins violently stab your ears in time with each brutal plunge of the knife. No matter how often you’ve seen the film, the terrifying immediacy of the live music will make you remember why you never shower. The Meyerson's world-class acoustics and magnificent European "shoebox"-style chamber imbue the DSO's performance with an unmatched clarity and intimacy, regardless of where or in whose lap you're sitting.
- The work lived up to its outsize ambitions, and Mr. van Zweden led a beautifully prepared and dynamic performance. – James R. Oestreich, New York Times
- …one could only marvel at a conductor as committed to the fine points of musical shape, balance and joinery as to emotional intensities. Again and again, without making a fuss, van Zweden brought out salient counterpoints usually buried in sonic masses. – Scott Cantrell, Dallas Morning News
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