Review: Queensland Symphony Orchestra’s Art of the Score: The Music of Hans Zimmer

Review by Regan Baker

2025 is setting itself up to be the year of Hans Zimmer in Brisbane, and the Queensland Symphony Orchestra has just added an exclamation mark to that declaration. After the maestro himself graced The Entertainment Centre stage a little over a month ago, playing to sold-out crowds, the QSO’s Art of the Score: The Music of Hans Zimmer was the perfect encore for local fans. It’s an event that was less a concert and more a storytelling journey through the soundscapes that have defined modern cinema.

Hosted by podcasters Andrew Pogson and Associate Professor Dan Golding, Art of the Score transformed a traditional orchestral evening into a multi-sensory, narrative-driven experience. Pogson and Golding, known for their engaging deep dives into film scores, brought their trademark blend of knowledge and humour to the stage. They framed each piece with fascinating context, offering insights into Zimmer’s techniques, the stories behind the compositions, and the impact these works have had on audiences worldwide. It was like having a kind of film music documentary unfold in real time - except with a full orchestra at your service.

And what an orchestra it was. Under the assured and dynamic leadership of conductor Vanessa Scammell, the QSO delivered Zimmer’s epic scores with precision, passion, and power. From the sweeping majesty of Pirates of the Caribbean to the delicate, heartfelt melodies of Driving Miss Daisy, the orchestra breathed new life into these iconic works, reminding us just how much Zimmer’s music has shaped the emotional contours of our favourite films.

Highlights were plentiful. The rendition of The Lion King was a particular joy, bringing a sense of grandeur and nostalgia to the stage, while Inception’s “Time” was a standout moment for its sheer emotional weight. It’s worth noting that the lighting design, which at times felt like an afterthought or even a distraction - straying too close to generic concert visuals - found its perfect application during “Time.” Here, the lighting subtly illuminated the conductor and the delicate soft keys in the dying moments of the piece, creating a visual reflection of the music’s meditative qualities. It was a rare, albeit beautiful moment where sound and sight aligned in perfect harmony.

One of the night’s unexpected delights was the inclusion of the 1980s Buggles classic Video Killed the Radio Star. I’ll admit, it wasn’t on my 2025 bingo card to hear an orchestral version of this synth-pop anthem, but it was a cheeky and joyful surprise that reminded us of Zimmer’s pop music roots before his film scoring fame.

The programme also showcased the versatility and adaptability of the orchestra’s musicians. A particularly inventive moment came with Kung Fu Panda, where the evocative Erhu melody - originally written for the traditional Chinese instrument - was interpreted beautifully by Section Principal Hyung Suk Bae on cello. While not a traditional Erhu player, Bae’s sensitive phrasing and warm tone captured the essence of the piece, proving that great musicianship can transcend the technical boundaries of instrumentation.

And then there was Cassandra Seidemann, the mezzo-soprano whose soaring vocals in Gladiator’s “Now We Are Free” brought the evening to a stunning close. Her performance was both ethereal and commanding, perfectly encapsulating the emotional journey of the music and sending shivers through the audience as the final notes faded into the ether. It was a breathtaking finale, a reminder of how music can transcend words and speak directly to the soul.

Of course, no concert is without its quirks. As mentioned, the lighting design occasionally veered into the distracting rather than the complementary, and at times the spoken interludes - while fascinating - felt slightly long, momentarily pulling focus away from the music itself. However, these are minor quibbles in an otherwise masterful presentation.

Ultimately, Art of the Score: The Music of Hans Zimmer wasn’t just a concert. It was an experience. It reminded us that Zimmer’s music isn’t just about the notes on a page - it’s about the worlds he creates, the emotions he evokes, and the stories he helps tell. In the hands of the Queensland Symphony Orchestra, these scores became living, breathing entities, full of energy, depth, and heart.

For Brisbane audiences, 2025 truly is the year of Hans Zimmer, and Art of the Score was a fitting tribute to the man whose music has defined a generation. Bravo to QSO, Vanessa Scammell, hosts Andrew Pogson and Dan Golding, and the entire team for a night that was as entertaining as it was enlightening.

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