Genshin Concert Tour 2024: Conductor Thanapol Setabrahmana readies to lead the MPO

How does it feel to be invited back for a second time to conduct the Genshin Concert Tour and what are you most looking forward to this time around?

I’m deeply honoured to be invited back this time to conduct the Genshin Concert Tour. This year, I’m particularly looking forward to bringing many new tracks to life. The setlist includes several pieces that I fell in love with almost immediately, and I’m eager to immerse both myself and the audience in their live renditions.

Last year, you mentioned studying the game’s story, locations, events and characters. Have you continued to engage with Genshin Impact since then, and if so, how has your understanding of the game’s universe evolved?

Since last year, I’ve continued to study the game's universe extensively. With the introduction of new maps featuring diverse musical elements from various cultures, I’ve delved deeper into the history of many musical styles. I’ve also explored the cultural references present in the game’s recent regions, enhancing my understanding of the rich tapestry that is Genshin Impact’s world.

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Are there any new compositions or arrangements from Genshin Impact released since the last concert that you’re particularly excited to conduct this year? Has that led you to identify a favourite region or specific track?

Last year we performed only a handful of selections from Sumeru and Fontaine (two nations in Teyvat). Some of the themes from Sumeru are very heartfelt and emotional. Also, I’m particularly excited about the music from Fontaine. The main theme alone is incredibly moving, with its vibrant colours and energy. The character themes from this region are also exceptionally lovely.

How does game music differ in general from traditional orchestral arrangements and how time-consuming is the process of adapting tracks for the concert?

The process of adapting game music for orchestral performance varies depending on the original composition. Some video game soundtracks are inherently orchestral, while others have their unique musical language. The complexity of translation into an orchestral score depends on both the original composition and the desired direction for the show.

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You have previously mentioned the challenge of substituting certain instruments. How are you approaching this aspect with the Malaysian Philharmonic Orchestra?

We’re preparing more ethnic instruments to cover a greater variety of sound palettes. The orchestration was also done nicely so that it expressed all the necessary elements to do the tracks justice.

Are there any new techniques or approaches you’re planning to use to help the Malaysian audience “re-experience” their favourite Genshin Impact moments through the music?

In preparing for the performance, I’ve studied the music not just within the context of the game but also in its cultural and historical context. I hope, that if we do it right, we can merge the game world and the real world through sonic experience.

Has your perspective on the artistic value of video game music (that it exists and is mostly experienced in a different kind of context than traditional classical music) changed since your last Genshin concert experience? If so, how?

My perspective on the artistic value of video game music remains unchanged. The creative team behind Genshin Impact’s soundtrack and the concert production consistently delivers their best artistry and craftsmanship. The music we’re about to perform is truly worth hearing, showcasing the high artistic merit of musical works.

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