From Amazon.co.uk
After two of the most riveting thrillers ever set on American soil, the serial-killer Hannibal Lecter faces FBI agent Clarice Starling in Florence. Composer Hans Zimmer, following the success of
Gladiator, is swiftly reunited with director Ridley Scott, and takes a very different musical path from Howard Shore's austere score for
The Silence of the Lambs. Paying regard to the Viennese setting and Lecter's cultural refinement, Zimmer's music features many classical allusions. There are nods towards Mozart, an off-key, subtly disturbing
Blue Danube and darkly beautiful choral passages evoking sacred mass and the Dies Irae. Alongside some particularly lush and effective string writing, and echoes of Jerry Goldsmith's Viennese thriller music for
The Boys From Brazil, fear-laden, digitally pulsating soundscapes are kept to a minimum. Anthony Hopkins delivers three of Lecter's monologues which, while effectively done, will become less welcome with repeated playings. Both
The Assassin and
Beyond Rangoon demonstrated Zimmer's talent for haunting melody within a thriller context, and for
Hannibal he has surpassed himself. There is a Gothic, melancholy grandeur to much of this score, the Wagnerian rapture of "To Every Captive Soul" and the serene, elegiac finale making this a morbidly enchanting musical dream. --
Gary S. Dalkin
Chronique amazon.fr
Après leur collaboration sur
Gladiator, Ridley Scott et Hans Zimmer ont décidé de remettre le couvert avec la suite du
Silence des agneaux. Traitée d'une manière très sobre, la musique d'
Hannibal, composée par Hans Zimmer, semble planer dangereusement autour des futures victimes du cannibale. Très esthétique et raffinée, d'inspiration classique, la partition dévoile une succession d'atmosphères – "Avarice", "
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