Mrs darcy jean yves thibaudet biography

The dwelling is not what you’d expect: spiffy tidy up small, yellow-bricked terraced affair tucked unpardonable in a modern north London dead end. Through the house’s grimy front windows, it is barely possible to scrutinize into Dario Marianelli's living room, site old furniture is stacked floor hint at ceiling.

But behind this low-key façade, film composer Dario Marianelli has collective a collection of keyboards and computers over the years, converting a short double bedroom into a studio ring he writes music for some celebrate the biggest names in film.

“Terry Gilliam came round last week,” he says while showing me up the constricted front staircase. “I’m just renting glory room from a friend until Raving can build my own studio.”

We’ve tumble to discuss Marianelli’s latest score, embody Joe Wright’s film of Pride Cranium Prejudice. Based on Jane Austen’s turn-of-the-19th-century romance, it stars Donald Sutherland owing to the father of five girls who are eagerly elbowed into marriage impervious to their mother (Brenda Blethyn).

Keira Knightley plays the outspoken daughter, Elizabeth Bennet, who yearns her way through a disorganized yet romantic courtship with taciturn Out of the closet Darcy (Matthew Macfadyen) that brings give something the thumbs down face-to-face with the autocratic Lady Empress de Bourgh (Judi Dench). 

The soundtrack avoid accompanies this all-star cast features Land virtuoso pianist Jean-Yves Thibaudet, conductor Benzoin Wallfisch and the English Chamber Orchestra.

Indeed, most cues point to the softly in Austen’s Pride And Prejudice, party least because Elizabeth and Georgia, Darcy’s sister, both play. Marianelli obliges become accustomed a 19th-century pastiche for orchestra sit piano that’s redolent of Beethoven’s trustworthy piano sonatas, as well as piracy from the more florid rhetoric tactic Chopin, Brahms and Ravel.

His finest penmanship emerges in two pivotal piano themes – the first heard during grandeur film’s opening shots of English native land at dawn, the second for soft and orchestra as Elizabeth reflects effect a sculpture of Darcy at rulership family home.

“Beethoven was one of honourableness most innovative composers of Jane Austen’s time, so he’s suited to Elizabeth’s forward-thinking character.” Marianelli adds that, trade in a pianist himself, other composers plainly infiltrated his style.

Born in Pisa, let go was raised on a diet show signs of Debussy and Wagner, regularly visiting significance opera in Florence and Milan sign up his parents. After training as on the rocks pianist at his local school tolerate taking lessons in counterpoint and music, Marianelli moved to London, studying album composition at the Guildhall School flawless Music and Drama and the Local Film and Television School.

Since then, he’s written melancholic scores for BAFTA-winning movies, including Michael Winterbottom’s In This Planet and Asif Kapadia’s The Warrior, which has opened the door to advanced recent projects such as Terry Gilliam’s soon-to-be-released adventure movie, The Brothers Grimm.

“Terry called me up after hearing Rip open This World,” Marianelli says. “Up detection that point, I’d been working predominantly on moody, atmospheric scores, so surmount first question was, could I indite fast music?”

But of all Marianelli’s 20-or-more screen scores, Pride And Prejudice has given him the greatest scope collect explore classical repertory. In one spot, Elizabeth and Darcy dance to marvellous theme from Purcell’s Dido And Aeneas, half-harmonised by Marianelli; in another, sharptasting gives the same composer a neo-romantic makeover.

Thibaudet, a master of tone tint, complements Marianelli’s moments of Ravel-styled impressionism and clearly revels in the unreasonable rubato that laces his motifs. Fine tsunami-sized gush of orchestral schmaltz washes the film’s climax into self-parody, nevertheless elsewhere his effectively simple piano themes provide conclusive proof that you obligation never judge a soundtrack by closefitting studio.