On May 3, British organist Anna Lapwood performed a sold-out recital on Walt Disney Concert Hall’s “Hurricane Mama” featuring mostly movie music and engaging the audience in her typically enthusiastic style.
She began her second concert at the hall with “Chevaliers de Sangreal” from The Da Vinci Code — honestly, a great piece to start with. Then, she played “The Bells of Notre Dame” from The Hunchback of Notre Dame, which she played at her Disney Hall debut in 2024, and both times she took advantage of the bell sound effects in the Disney Hall organ, which was a treat.
Then came the highlight of the program, her arrangement of The Lord of the Rings soundtrack for organ — a piece she spent the past year working on. Before she played it, she gave an ecstatic and entertaining summary of The Lord of the Rings, explaining how the leitmotifs of each character in the score were interwoven and illuminating the genius of Howard Shore. This arrangement was such a delight to experience, and the themes related to Mordor and the bad guys used deep horn and trumpet sounds, which sounded just like the movie. I had seen this arrangement in short clips on her Instagram leading up to the concert, and she definitely delivered.
After intermission, she played “Duel of the Fates” from Star Wars: Episode I – The Phantom Menace. It was such a pleasure to hear this famous track and watch her play it. She noted after the performance that, though the piece was only four minutes long, she had 566 pedal notes to play.
Then she played Flight by Rachael Portman, which, while an obscure pick, was one of my favorites. She explained how it depicted the lead-up to a rocket launch, the launch and then space from the perspective of an astronaut. She told the audience how a real astronaut commented on the piece on her Instagram, saying the experience was perfectly encapsulated in the music, and while I don’t have the same experience, I definitely agree. The low, rumbling bass notes occur during the launch, and then space is depicted as quiet, calm, mysterious and almost relieving.
To finish the program, she played the Suite from Pirates of the Caribbean, including Hoist the Colours, Jack Sparrow, One Day and Drink Up Me Hearties Yo Ho. This one was also incredibly fun to hear on the Disney Hall organ.
Lapwood’s ability to engage the audience with her music and the sheer appreciation of her from the audience are simply incredible. For example, after the intermission, she brought it to our attention that a ceiling fixture had to be repaired after her Lord of the Rings transcription and the audience’s exuberant cheering. Her attitude and approach are exactly how to revitalize classical music in modern-day popular culture.
Not only does Lapwood engage with the audience during her shows, but she also communicates with them on social media. For example, in the second half of the program, she mentioned two people in the audience who met at one of her concerts (It’s a long story!) and have now been together for a year. She treated them by playing one of their favorite pieces, Experience by Ludovico Einaudi. Her relationship with her audience is why she’s such a special figure in music today.
For an encore, she provided four possible picks for the audience to choose by applause, including “Stampede” from Lion King, “No Time for Caution” from Interstellar, “Time” from Inception. It was clearly between “No Time for Caution” and “Time.” However, she asked if she should play them all, and of course, we all cheered. She played each with such care and passion, and as some people trickled out after each piece, she was very understanding and thankful, telling them: please, leave if you have to. I could stay here all night. I just love playing the organ!
—Haydn Schlinger, Culture Spot LA
Learn more about Anna Lapwood at https://annalapwood.co.uk/concerts.
Photo of Anna Lapwood courtesy of the artist and the LA Phil