WEBVTT FILE

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Downloaded from
YTS.MX

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(dramatic drum music)

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Official YIFY movies site:
YTS.MX

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- I was invited to a new show
at the Point Theater in Dublin

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and it turned out to be one of

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the most memorable nights
I've spent in the theater.

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The force of the music, the
primal power of the dancing,

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the beautiful symmetry of
so many bodies in motion.

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I think anybody who was in the
audience that night realized

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that they were watching
something unique and original.

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The show of course was
Riverdance.

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(dramatic instrumental music)

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(audience applauds and cheers)

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- Well I suppose Riverdance the
show

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and then there was
Riverdance at the Eurovision

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so 25 years ago we had
already had Riverdance

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at the Eurovision which happened
in 1994

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as a 6 minute and 40 second
piece that surprised people.

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- [Both] Ladies and gentlemen,
Riverdance.

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(joyful instrumental music)

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- The interval act at
Eurovision is normally

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something of cultural
value from that country,

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they didn't know what it was,

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they're normally quite boring

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but when Riverdance came on the
stage

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it was an electrifying moment.

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(audience applauds and cheers)

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- [Announcer] The audience
are on their feet.

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- The audience as one jumped to
their feet

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and for like a sustained
4 or 5 minutes applause

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that in my experience of
the business was unique.

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- At that moment I suppose
we knew that Irish dance

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was never going to be the
same again and that maybe

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Irish culture was never
going to be the same again.

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(audience applauds and cheers)

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- When we had the initial
sort of tidal wave response

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that was the time that we all
thought,

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wow Riverdance has really had an
effect,

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we have a number one record,
we should make a show.

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- [Moya] Bill Whelan,
John McColgan and myself

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put our heads together round the
table

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and we really worked out
what the shape, form,

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concept of the two hour
piece was going to be.

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- Riverdance itself and I think
actually

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Maria will bring something
to it not only just with her

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talent of her dancing but
also just her personality.

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She has that kind of warmth
which you know

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in a company context is really
important.

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- [Moya] Sure.

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(enthusiastic music)

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- The theme was immigration

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and the theme was multi-cultural
and the theme was changing,

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interchanging ideas and
being to work with each other

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so all of the dancers didn't
just sit in their own silo,

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they interacted with each other

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and the choreography was
mixed up with each other.

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(enthusiastic music)

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One year later we had a full
show on in the same venue.

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- Please welcome Riverdance.

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(lively music)

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(audience applauds and cheers)

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- What we're doing is
telling a lot of good will,

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a lot of high energy and
we love what we're doing,

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the best thing about our show
is that all of us would do it

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for nothing without any audience
there

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and I think when you have a show
like that

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it will live for a while.

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- It exploded.

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We just dragged on,
held on by our knuckles

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to the coat tails of Riverdance,
and traveled with it.

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- So straight from there
we went to Hammersmith

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which is a 6,000 seater in
London

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and we played Hammersmith
for a record number of weeks.

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Then we went off and
started our American tours

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in Radio City Music Hall
and we hold the record there

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for the longest run of any
single show.

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(lively music)

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- [Moya] These dance forms
were cultural dance forms

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that were used to express
through history

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life and death and
celebration and challenge.

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It's a river of emotions,

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pathos, sorrow, joy,
it brings us great joy,

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it brings the audience great
joy.

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So bringing all of that
into a Broadway/mainstream

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entertainment stage is I think
what

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caused the real excitement.

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(dramatic music)

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- This was the show that
announced to the world

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that Ireland was a cultural
force

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to be reckoned with in the
popular sense.

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It made Irish dancing
sexy and it made it cool.

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(lively music)

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- [John] Irish dance,

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or as they call it the
Riverdance

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is now recognized all over the
world as a genuine art form

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and it employs thousands of
people.

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(lively music)

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- I think we are so blessed
25 years later to be able to

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experiment with this and
to produce this new show.

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- My hope and desire is that
now with this new treatment

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the show will be reinvigorated

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and attractive to people
who have never seen it,

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younger people who weren't
born when it started

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and even more attractive topeople who have seen it before,

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they'll also be blown away
so it's the next generation,

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it's Riverdance: the Next
Generation.

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(lively music)

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(audience applauds and cheers)

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♪ Hear my cry

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♪ In my hungering search for you
♪

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♪ Taste my breath on the wind ♪

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♪ See the sky

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♪ As it mirrors my colors

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♪ Hints and whispers begin

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(wistful music)

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- [Man] Out of the dark we came.

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Out of the night.

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The first of many mornings
in this new place.

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When the sun rolled back the
mist

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we rose like a strong wave on
land.

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Now we were the people of this
place.

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(wistful music)

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What burns through the rain and
mist?

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What banishes dark?

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What makes the children
straight and bright?

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What makes the mountains sharp?

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The sun is our Lord and Father.

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Bright face at the gate of day.

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Lifting our hearts we sing his
praise.

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Dance in his healing rays.

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(triumphant music)

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(audience applauds and cheers)

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(wistful music)

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(audience applauds)

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♪ Where the river foams
and surges to the sea ♪

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♪ Silver figures rise to find me
♪

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♪ Wise and as daring

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♪ Following the heart's cry

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♪ I am the deep pool

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♪ I am the dark spring

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♪ Warm with a mystery

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♪ I may reveal to you

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♪ In time key to everything is
love ♪

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♪ Flow into a deep desire

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♪ Passion and desire

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♪ See the eagle rise
above the open plain ♪

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♪ Golden in the morning

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♪ Weaving and soaring

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♪ Watchful and protecting

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♪ I am your shelter

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♪ I will enfold you

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♪ Warm with a mystery

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♪ I may reveal to you

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♪ In time key to everything is
love ♪

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♪ Flow into a deep desire

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♪ Passion and desire

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(audience applauds and cheers)

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(delightful music)

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(intense music)

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(audience applauds and cheers)

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- [Man] Cuchulain is dead.

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Our great Cuchulain.

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He was the sun of morning.

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He was a fire at night.

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He was a powerful story.

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He was lightening in forest.

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A sudden storm.

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A short life.

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(haunting music)

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(audience applauds and cheers)

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- [Man] Thunder and
lightning batter the rocks.

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The winds howl and great
storms break on the forest.

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Scatter the herds like grain.

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Fire leaps from dark to dark.

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Fear and anger leap to meet it.

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We will not go down.

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We will not be beaten down like
grain.

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(lightening cracks)

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(shoes tapping)

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(audience applauds and cheers)

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(sultry music)

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(audience applauds and cheers)

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(haunting music)

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(sings in foreign language)

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(audience applauds and cheers)

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(hopeful music)

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(joyful music)

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(audience applauds)

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(joyful music)

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(audience applauds and cheers)

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♪ Hear my cry

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♪ In my hungering search for you
♪

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♪ Taste my breath on the wind ♪

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♪ See the sky

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♪ As it mirrors my colors

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♪ Hints and whispers begin

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♪ I am living to nourish
you, cherish you ♪

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♪ I am pulsing the blood in your
veins ♪

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♪ Feel the magic and power of
surrender ♪

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♪ To life, Uisce Beatha ♪

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♪ Every finger is touching,
searching ♪

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♪ Until your secrets come out

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♪ In the dance, as it endlessly
circles ♪

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♪ I linger close to your mouth ♪

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♪ I am living to nourish
you, cherish you ♪

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♪ I am pulsing the blood in your
veins ♪

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♪ Feel the magic and power of
surrender ♪

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♪ To life, Uisce Beatha

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(ethereal music)

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(frantic music)

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(joyful music)

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(audience applauds and cheers)

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- With the 25th Anniversary
production there

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is a significant change
in terms of the lighting,

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in terms of the set, in terms
of the content on the screen,

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in terms of some of the
costumes,

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in terms of the running order of
the show,

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in terms of the casting of the
show.

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And for everybody that
is part of Riverdance 25

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there is absolutely an
understanding

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and an opportunity and
also a responsibility

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on each and every single one of
us to

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make Riverdance be the
best it's ever been.

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In the same way as
Manchester City or Liverpool

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or any of these guys bring in
new players to help energize

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and fuel that next generation,

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the same way as the Lakers
or anybody out in America,

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those professional sports teams,

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that's the way we look at
ourselves,

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we look at ourselves as a
professional sports team

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trying to be the best team in
the world.

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You would have went around
and caught on to Peter.

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For the most part it's
practicing it

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so much so that you can't get it
wrong.

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And its making sure that
the communication is clear

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between every single dancer
as to where they're moving,

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when they're moving, whatthey're supposed to be thinking,

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what they should be visualizing,

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what they should be feeling on
stage

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so that the audience feels
it in the auditorium,

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where their toes are
supposed to be placed,

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how high their legs come up,
how low their legs go down.

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There's so many aspects to make
it as perfect as it can be.

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- We've been Irish dance and
when we were four, five, six

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so we kind of grew up trying to
be

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this Riverdance style of dancer.

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In terms of the troupe coming
together

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and having to dance at exactly
the same speed every night,

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that takes hours and hours of
rehearsals.

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(shoes tapping)

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- When it comes down to
it the sheer speed of tap,

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it comes over years and years of
training.

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(shouts)

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Some people have been measured
up to 40 taps per second.

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I know some of the solos
probably

256
00:54:33.870 --> 00:54:36.773
range between 20 and 35 per
second.

257
00:54:40.978 --> 00:54:42.779
I mean I've been dancing
for, what, 24 years now,

258
00:54:42.813 --> 00:54:45.916
and even then I'm still
trying to get faster

259
00:54:45.949 --> 00:54:49.586
and speed is one thing,
there's execution as well.

260
00:54:49.620 --> 00:54:52.656
So sometimes you'll see
when you do go really fast

261
00:54:52.689 --> 00:54:54.424
you lose your technique,
but it's the uniqueness

262
00:54:54.458 --> 00:54:58.195
and the presentation of the
feet as well, at that speed,

263
00:54:58.228 --> 00:55:00.230
that's really difficult.

264
00:55:04.268 --> 00:55:05.502
Right now you're seeing in the
world

265
00:55:05.535 --> 00:55:07.604
there's such a huge thing about
inclusion

266
00:55:07.638 --> 00:55:10.240
and acceptance of
everyone for who they are,

267
00:55:10.274 --> 00:55:12.776
whether it's race, religion,
sexuality,

268
00:55:12.809 --> 00:55:17.147
and Riverdance is all about
the sharing of cultures.

269
00:55:20.017 --> 00:55:22.586
(group cheers)

270
00:55:25.455 --> 00:55:26.623
- Before the show starts
when we're warming up

271
00:55:26.657 --> 00:55:30.460
the Irish boys come and jam
with us when we're tapping

272
00:55:30.494 --> 00:55:35.499
and we all kind of like mesh
our stuff together, it's good.

273
00:55:36.199 --> 00:55:40.370
Never thought I'd Irish
dance ever in my life but.

274
00:55:41.438 --> 00:55:44.941
- It's nerve-wracking because
not only is it a new style

275
00:55:44.975 --> 00:55:48.412
but you're also doing it next
to professional Irish dancers

276
00:55:48.445 --> 00:55:51.381
who are world champions andthey're the best at what they do

277
00:55:51.415 --> 00:55:52.983
 
so the pressure is on.

278
00:55:53.016 --> 00:55:55.385
But saying that I absolutely
love it

279
00:55:55.419 --> 00:55:58.355
and I'm loving to learn new
styles.

280
00:56:00.924 --> 00:56:03.593
(shoes tapping)

281
00:56:06.463 --> 00:56:09.700
- We are like a big family,
and the energy we're getting

282
00:56:09.733 --> 00:56:13.337
on the stage is very
inspiring for dancing.

283
00:56:15.072 --> 00:56:16.740
Not only with Irish,

284
00:56:17.674 --> 00:56:22.446
we have different types ofdance and learn from each other,

285
00:56:22.479 --> 00:56:23.914
 
and it's amazing.

286
00:56:27.918 --> 00:56:30.320
- It has always been
gratifying to me to see how

287
00:56:30.354 --> 00:56:33.957
Irish traditional musicians
and dancers in Riverdance

288
00:56:33.990 --> 00:56:37.594
have embraced the fact
they they're in a show

289
00:56:37.627 --> 00:56:39.696
where you have flamenco dancers

290
00:56:39.730 --> 00:56:41.031
and where you have Russian
dancers

291
00:56:41.064 --> 00:56:46.069
and jazz tappers and you have
that sort of coming together

292
00:56:46.737 --> 00:56:49.439
of different forms which has a
respect

293
00:56:49.473 --> 00:56:53.577
for its own form and a
curiosity about the other.

294
00:56:54.911 --> 00:56:57.547
America has created an art form
with jazz

295
00:56:57.581 --> 00:57:01.017
which combines something that
we do use in Riverdance too,

296
00:57:01.051 --> 00:57:06.056
which is that invitation tomusicians to actually improvise.

297
00:57:07.290 --> 00:57:10.193
 
(thoughtful music)

298
00:57:30.147 --> 00:57:32.282
- These are called the uillean
pipes.

299
00:57:32.315 --> 00:57:35.185
Uillean is the Irish word for
elbow.

300
00:57:35.218 --> 00:57:38.722
So you pump the air from
the bellows into the bag

301
00:57:38.755 --> 00:57:41.525
and then this here is called the
chanter.

302
00:57:41.558 --> 00:57:44.394
And then here you have the
drones,

303
00:57:47.264 --> 00:57:50.267
so the drones are kind
of like an accompaniment

304
00:57:50.300 --> 00:57:51.334
and then you have the regulators

305
00:57:51.368 --> 00:57:53.503
that you play with your wrist,

306
00:57:53.537 --> 00:57:57.207
just to add something else into
the mix.

307
00:57:57.240 --> 00:58:00.644
(haunting uillean music)

308
00:58:08.351 --> 00:58:11.154
I love playing slow airs as a
piper.

309
00:58:11.188 --> 00:58:14.424
Queen of Cuchulain especially
just always moves me,

310
00:58:14.458 --> 00:58:15.592
the way Bill wrote the air,

311
00:58:15.625 --> 00:58:18.295
it's just impossible not to feel

312
00:58:18.328 --> 00:58:20.997
anything when you're playing it.

313
00:58:24.701 --> 00:58:27.971
("Queen of Cuchulain")

314
00:58:41.618 --> 00:58:42.953
- A couple came up to me one
night

315
00:58:42.986 --> 00:58:44.554
after a performance in England

316
00:58:44.588 --> 00:58:48.592
and said that listening to
the pipes air in Riverdance

317
00:58:48.625 --> 00:58:51.528
had helped them to grieve for
their son,

318
00:58:51.561 --> 00:58:54.130
who had died the previous year.

319
00:58:55.332 --> 00:58:59.903
And for them to say that
and for the music to have

320
00:58:59.936 --> 00:59:04.808
reached people in that way
was something that none of us

321
00:59:04.841 --> 00:59:09.346
really ever expected, and
it was lovely to hear.

322
00:59:09.379 --> 00:59:12.616
("Queen of Cuchulain")

323
00:59:18.722 --> 00:59:21.892
So music as a non-verbal tool,

324
00:59:21.925 --> 00:59:24.294
it's extraordinarily powerful

325
00:59:24.327 --> 00:59:27.197
and it reaches into
parts of the human psyche

326
00:59:27.230 --> 00:59:29.900
I think that we don't have
language for,

327
00:59:29.933 --> 00:59:33.270
and where language fails music
steps in.

328
00:59:50.620 --> 00:59:53.189
- [Man] No life is forever.

329
00:59:53.223 --> 00:59:55.559
We found and fought here.

330
00:59:55.592 --> 00:59:57.494
We loved and died here.

331
00:59:59.729 --> 01:00:04.467
We have seen smoke of warclimb from our fields of grain.

332
01:00:04.501 --> 01:00:06.269
 
A stain over the sun.

333
01:00:08.104 --> 01:00:09.539
The crops wither.

334
01:00:11.474 --> 01:00:14.811
The bones of hunger walk the
sunken roads

335
01:00:14.844 --> 01:00:17.013
in the black rain of ruin.

336
01:00:20.283 --> 01:00:24.120
Whole generations lift now to
depart.

337
01:00:24.154 --> 01:00:26.423
The land has failed us.

338
01:00:26.456 --> 01:00:29.459
The dark soldiers appear against
us.

339
01:00:30.827 --> 01:00:34.898
In dance and song we gift
and mourn our children.

340
01:00:35.865 --> 01:00:39.769
They carry us over the
ocean in dance and song.

341
01:00:41.071 --> 01:00:43.640
(joyful music)

342
01:03:48.525 --> 01:03:52.462
(audience applauds and cheers)

343
01:03:54.697 --> 01:03:57.367
(weeping music)

344
01:04:09.045 --> 01:04:14.083
♪ Now I will soon depart

345
01:04:14.117 --> 01:04:17.821
♪ With an aching heart

346
01:04:17.854 --> 01:04:22.826
♪ To a land that's far from here
♪

347
01:04:24.160 --> 01:04:29.165
♪ There I will hope and yearn

348
01:04:29.432 --> 01:04:33.269
♪ For a safe return ♪

349
01:04:33.303 --> 01:04:38.308
♪ To the home I hold so dear

350
01:04:40.743 --> 01:04:45.748
♪ Lift the wings that carry
me away from here and ♪

351
01:04:48.184 --> 01:04:53.189
♪ Fill the sails that
break the line to home ♪

352
01:04:54.090 --> 01:04:59.095
♪ But when I'm miles and
miles apart from you ♪

353
01:05:04.300 --> 01:05:09.305
♪ I'm beside you when I
think of you, a Stróirín ♪

354
01:05:12.008 --> 01:05:17.013
♪ And I'm with you as I
dream of you, a Stróirín ♪

355
01:05:19.749 --> 01:05:24.721
♪ And this song will
bring me near to you ♪

356
01:05:24.754 --> 01:05:27.757
♪ A Stróirín a Ghrá

357
01:05:39.669 --> 01:05:44.040
(audience applauds and cheers)

358
01:05:44.073 --> 01:05:46.643
(lively music)

359
01:06:20.543 --> 01:06:23.546
(audience applauds)

360
01:06:24.647 --> 01:06:27.483
(sorrowful music)

361
01:06:43.032 --> 01:06:45.668
- [Man] Dawn and the ships are
leaving.

362
01:06:45.702 --> 01:06:49.405
A lover's grief is lifting on
the tide,

363
01:06:49.439 --> 01:06:53.710
and heart's too young
for sorrow torn asunder.

364
01:06:53.743 --> 01:06:57.146
The cruel ocean's deep and dark
and wide.

365
01:06:58.047 --> 01:07:00.883
(sorrowful music)

366
01:07:25.408 --> 01:07:28.644
Tall and straight my mother
taught me.

367
01:07:28.678 --> 01:07:31.214
This is how we dance.

368
01:07:31.247 --> 01:07:34.550
Tall and straight my father
taught me.

369
01:07:34.584 --> 01:07:36.319
This is how we dance.

370
01:07:37.286 --> 01:07:40.189
Battering feet on the city
street.

371
01:07:40.223 --> 01:07:43.860
In pools of light on street
corners.

372
01:07:43.893 --> 01:07:47.063
The proud bright carnival of the
poor.

373
01:07:48.064 --> 01:07:50.733
(shoes tapping)

374
01:12:33.949 --> 01:12:37.853
(audience applauds and cheers)

375
01:12:57.173 --> 01:12:59.842
(shoes tapping)

376
01:13:40.816 --> 01:13:44.720
(audience applauds and cheers)

377
01:13:51.794 --> 01:13:54.463
(shoes tapping)

378
01:14:20.589 --> 01:14:24.527
(audience applauds and cheers)

379
01:14:33.969 --> 01:14:37.907
(audience applauds and cheers)

380
01:14:48.451 --> 01:14:52.388
(audience applauds and cheers)

381
01:15:02.932 --> 01:15:06.836
(audience applauds and cheers)

382
01:15:09.872 --> 01:15:12.541
(shoes tapping)

383
01:16:17.039 --> 01:16:20.943
(audience applauds and cheers)

384
01:16:38.527 --> 01:16:41.196
(shoes tapping)

385
01:17:44.059 --> 01:17:47.997
(audience applauds and cheers)

386
01:17:49.031 --> 01:17:51.600
(lively music)

387
01:18:29.171 --> 01:18:33.075
(audience applauds and cheers)

388
01:18:45.487 --> 01:18:48.090
(lively music)

389
01:19:09.478 --> 01:19:13.415
(audience applauds and cheers)

390
01:19:18.554 --> 01:19:21.290
(haunting music)

391
01:19:29.932 --> 01:19:33.602
- [Man] Over the rooftops
the music calling.

392
01:19:34.536 --> 01:19:37.272
The air familiar but not our
own.

393
01:19:39.274 --> 01:19:42.778
Like something out of a
storybook.

394
01:19:42.811 --> 01:19:45.814
Somebody dancing the memory of
snow.

395
01:19:47.816 --> 01:19:50.586
(haunting music)

396
01:22:10.759 --> 01:22:13.762
(audience applauds)

397
01:22:19.902 --> 01:22:22.471
(joyful music)

398
01:26:48.537 --> 01:26:52.440
(audience applauds and cheers)

399
01:27:04.052 --> 01:27:06.154
- [Man] Cry of an infant.

400
01:27:06.188 --> 01:27:08.657
Heartbeat of the world.

401
01:27:08.690 --> 01:27:10.258
Storm against ship.

402
01:27:11.193 --> 01:27:13.562
Heartbeat of the world.

403
01:27:13.595 --> 01:27:16.865
Heel against floor and wave upon
shore.

404
01:27:17.766 --> 01:27:19.668
Heartbeat of the world.

405
01:27:20.602 --> 01:27:22.704
Sigh of a lover.

406
01:27:22.737 --> 01:27:25.440
Heartbeat of the world.

407
01:27:25.473 --> 01:27:26.808
Cry of a mother.

408
01:27:27.776 --> 01:27:30.378
Heartbeat of the world.

409
01:27:30.412 --> 01:27:31.513
Oh unstopped.

410
01:27:32.914 --> 01:27:34.816
Heartbeat of the world.

411
01:27:38.653 --> 01:27:41.556
(mysterious music)

412
01:29:38.807 --> 01:29:42.711
(audience applauds and cheers)

413
01:29:47.282 --> 01:29:50.185
(triumphant music)

414
01:32:01.649 --> 01:32:05.587
(audience applauds and cheers)

415
01:32:14.329 --> 01:32:19.334
♪ Into the river that had been a
stream ♪

416
01:32:21.970 --> 01:32:25.473
♪ There fell a tear

417
01:32:25.507 --> 01:32:28.877
♪ A single tear

418
01:32:28.910 --> 01:32:33.915
♪ The loveliest of all tears

419
01:32:35.717 --> 01:32:39.454
♪ The loveliest of all tears

420
01:32:48.162 --> 01:32:50.031
♪ A thousand of tears had come
eon her ♪

421
01:32:50.064 --> 01:32:51.933
♪ A thousand of tears had come
eon her ♪

422
01:32:51.966 --> 01:32:53.935
♪ And she was stuck on dancing

423
01:32:53.968 --> 01:32:56.204
♪ She was stuck on dancing

424
01:32:56.237 --> 01:32:57.672
♪ And her muddied name was

425
01:32:57.705 --> 01:32:59.908
♪ Mississippi Mississippi Anna
Livia ♪

426
01:32:59.941 --> 01:33:02.076
♪ Mississippi Mississippi Anna
Livia ♪

427
01:33:02.110 --> 01:33:04.512
♪ Riversippi Riversippi Anna
Livia ♪

428
01:33:04.546 --> 01:33:09.551
♪ River Liffey River Liffey Anna
Livia ♪

429
01:33:09.584 --> 01:33:12.253
(frantic music)

430
01:33:34.475 --> 01:33:36.611
♪ Mississippi Mississippi Anna
Livia ♪

431
01:33:36.644 --> 01:33:38.846
♪ Mississippi Mississippi Anna
Livia ♪

432
01:33:38.880 --> 01:33:41.249
♪ Riversippi Riversippi Anna
Livia ♪

433
01:33:41.282 --> 01:33:46.087
♪ River Liffey River Liffey Anna
Livia ♪

434
01:33:46.120 --> 01:33:48.790
(frantic music)

435
01:34:54.822 --> 01:34:56.224
♪ Amazon the Liffey and the
shimmer and the ripple ♪

436
01:34:56.257 --> 01:34:58.159
♪ And the Volga and the Fergus
and the Tagus and the Thames ♪

437
01:34:58.192 --> 01:35:00.128
♪ Uisce in the Shannon
and the Chico Colorado ♪

438
01:35:00.161 --> 01:35:01.963
♪ And the Apalachicola
Chatthooche and the Seine ♪

439
01:35:01.996 --> 01:35:03.765
♪ Pooling and a pouring and
a flooding and a flushing ♪

440
01:35:03.798 --> 01:35:05.633
♪ And a pooling and a pouringand a flooding and a flushing ♪

441
01:35:05.667 --> 01:35:08.002
♪ Riversippi Riversippi
Anna Livi Anna Livi ♪

442
01:35:08.036 --> 01:35:09.737
♪ Riversippi Riversippi
Anna Livi Anna Livi ♪

443
01:35:09.771 --> 01:35:10.838
♪ Shimmer in the Riverrun

444
01:35:10.872 --> 01:35:13.207
♪ Anna Livia

445
01:35:13.241 --> 01:35:17.178
(audience applauds and cheers)

446
01:35:21.516 --> 01:35:24.285
(haunting music)

447
01:36:12.467 --> 01:36:16.070
- [Man] And after all the
moon over city and forest

448
01:36:16.104 --> 01:36:18.005
is everywhere the same.

449
01:36:18.940 --> 01:36:22.076
In the old land it silvers
fields of grain

450
01:36:22.110 --> 01:36:24.412
just as it does here.

451
01:36:24.445 --> 01:36:27.782
The rivers everywhere run down
to the sea.

452
01:36:27.815 --> 01:36:32.787
And the land everywhere
takes life from the river.

453
01:36:32.820 --> 01:36:35.022
It is all a journey.

454
01:36:35.056 --> 01:36:36.924
From one land to the next.

455
01:36:36.958 --> 01:36:39.026
From one life to another.

456
01:36:40.762 --> 01:36:43.831
A generation later, that
emigrant's child

457
01:36:43.865 --> 01:36:48.069
stands for the first time on the
old land.

458
01:36:48.102 --> 01:36:49.771
Memory rich in song.

459
01:36:51.072 --> 01:36:52.740
The heart come home.

460
01:36:56.577 --> 01:36:59.347
(haunting music)

461
01:38:06.247 --> 01:38:08.850
(lively music)

462
01:38:58.232 --> 01:39:02.136
(audience applauds and cheers)

463
01:39:07.675 --> 01:39:10.578
(proud drum music)

464
01:40:14.942 --> 01:40:19.080
(audience applauds and cheers)

465
01:40:19.113 --> 01:40:21.682
(lively music)

466
01:42:15.996 --> 01:42:19.934
(audience applauds and cheers)

467
01:42:31.479 --> 01:42:34.482
(high energy music)

468
01:43:58.699 --> 01:44:01.368
(shoes tapping)

469
01:44:44.178 --> 01:44:48.115
(audience applauds and cheers)

470
01:44:49.283 --> 01:44:51.785
(proud music)

471
01:45:00.628 --> 01:45:03.297
(shoes tapping)

472
01:46:22.710 --> 01:46:25.279
(joyful music)

473
01:47:39.286 --> 01:47:43.223
(audience applauds and cheers)

474
01:48:06.947 --> 01:48:09.450
(proud music)

475
01:48:44.985 --> 01:48:48.889
(audience applauds and cheers)

476
01:48:56.563 --> 01:48:59.166
(joyful music)

477
01:49:32.432 --> 01:49:36.336
(audience applauds and cheers)