Pop concerts with an orchestra: ‘One of the best feelings I’ve ever had’

The cross-over is a constant artistic quest, as it turns out. ‘What makes such cross-overs truly special is that artists hear their own music back in a totally new context,’ says Robert Soomer. ‘Thanks to our international pool of arrangers, existing songs are completely reinvented: not just made bigger or fuller, but genuinely reshaped based on the strength of the orchestra.’

A lot of music is created using instruments like guitar, piano, and drums. That changes when an orchestra tackles it; a song is then performed with a sonic palette that includes, among other things, strings and brass. ‘For soloists, that can sometimes even be moving or slightly overwhelming: it’s no small thing to hear a group of fifty top musicians play your songs. Artists often experience how their music takes on an unexpected emotional charge due to this new dynamic and orchestration,’ Soomer explains.

Privileged

Rufus Wainwright also confirms that this feeling is real. He is set to perform with the Residentie Orkest at Muziekgebouw Eindhoven in January. We asked him about his experiences. ‘I love how such a collaboration bridges the gap between my pop work and my classical work. I feel very privileged to be able to perform my music with an orchestra.’ It is certainly not a given that an artist will experience this in their career. ‘So many artists I know would dream of getting the chance just once to have one of their songs played by an orchestra, so I feel very blessed.’ But, as he knows: ‘The most important thing is to remain grateful.’

Louis Cole recently gave a concert himself at Muziekgebouw Eindhoven and was accompanied by the Metropole Orkest. He is ravingly enthusiastic: ‘Nothing can replace playing with an orchestra. It feels timeless. Hearing my own music, performed by such an impressive ensemble, is one of the best feelings I have ever had in my life.’

On Tuesday, 12th May, the Metropole Orkest will share the stage with singer Sheléa, with a programme dedicated to Aretha Franklin. Sheléa: ‘I have always dreamed of working with an orchestra and I feel blessed to have had the opportunity to do so regularly already.’ The concert with the Metropole Orkest came about unexpectedly: ‘I met conductor Jules Buckley while touring with producer Quincy Jones. We instantly hit it off and have been working together ever since. Adding a symphony orchestra truly elevates the emotions to another level. It inspires me to give even more!’

Blueprint

The Metropole Orkest’s cross-over projects are not limited to the pop genre. The orchestra consciously works with a broad range of artists: from the jazz virtuosity of Cécile McLorin Salvant to the hip-hop of Fresku and the electronic South African movement of DBN Gogo. Soomer: ‘We always try to capture the core of a style, to understand what drives that music, and subsequently add an orchestral interpretation that does justice to the original and brings something new.’

That orchestral interpretation is realised by an arranger. The Metropole Orkest works with a fixed pool of fifty international arrangers who are chosen bespoke for each piece. The arranger starts with the blueprint of the song: ‘The form, the harmonies, the riffs and hooks that are essential to the identity of the track,’ Soomer explains. ‘New orchestral layers are built up from that foundation. In doing so, we consciously look at the unique possibilities of the different instrument groups. What colours can the woodwinds add? How can the string section build tension? Where can the brass bring power or grandeur? The result is an arrangement that remains true to the original, but simultaneously opens up a whole new world for the listener.’

Pressure cooker

Although the final result often sounds organic and effortless, rehearsals with international artists are frequently a ‘musical pressure cooker’. The preparation is intensive. Robert Soomer provides an insight into the process: ‘Guest artists receive demos of the arrangements beforehand so they can get used to the new orchestral versions. As soon as they arrive in Hilversum, we dive into the studio for two to three intensive days.’

For the artist, it is usually the first time they hear the arrangement live. ‘That is always a special moment. Together with the conductor, our orchestra members, and the production team, everything is built up in a short amount of time: dynamics, balance, phrasing, solos, transitions. Those rehearsal days are energetic, focused, and creative, and form the heart of the collaboration.’

Dreams

Despite the many collaborations the Metropole Orkest has already undertaken, there is still plenty left to dream about. The list of dream artists is therefore endless, according to the artistic director. ‘But if we can name three, they would be Celeste, Loyle Carner, and Nia Archives. All are artists with a distinct musical identity and a sound that would lend itself brilliantly to an orchestral translation.’