Detectives discover that a murdered concert violinist was having an affair with her orchestra conductor.Detectives discover that a murdered concert violinist was having an affair with her orchestra conductor.Detectives discover that a murdered concert violinist was having an affair with her orchestra conductor.
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- TriviaBefore Daniel Shelly joined The Metropolitan Opera Orchestra as a bassoon player in 2004, he had a one-line part in this episode of Law & Order. His web page for The Metropolitan Opera Orchestra Committee notes that after this role "failed to garner him an Emmy nomination, Mr. Shelly turned his back on television and joined the Metropolitan Opera Orchestra instead."
- Quotes
[as Carl Reger is being arrested by Briscoe and Green]
Carl Reger: My lawyer will have your jobs!
Det. Lennie Briscoe: Good. Can we have his?
Featured review
Could have been more harmonious
'Law and Order' was a great show in its prime and there has always been a preference for the earlier seasons over the more commonly aired late-Briscoe and post-Briscoe episodes. Not only love the show for its compelling cases and terrific writing and acting in the Briscoe and pre-Briscoe years. But also its admirable tackling of difficult subjects and themes (the 'Law and Order' franchise at its best was very good at that), their cases often based upon real-life ones and the moral dilemmas raised.
The music-related setting is nothing innovative for 'Law and Order' and was another setting re-visited quite a number of times in the franchise since. That didn't bother me massively though, being a classical musician myself and being raised on and around it for as long as can be remembered. "Dissonance" has a pretty familiar story and the execution is pretty familiar too. It is a pretty good episode still and there are worse episodes of 'Law and Order', but this is not an example of the show in its prime and instead when it was starting to run out of new ideas.
"Dissonance" has very little that is surprising or original, due to having plot tropes that have been seen before quite a number of times, and the first half in particular is pretty routine and not that interesting outside of Jerry Orbach and Jesse L. Martin. How it was all going to map out was never really in question, the twist not being much of one at all and far from a shock.
Part of me does agree that Lewin never really ignited as a character. She has some nice moments here and Dianne Wiest does well with what she's given, but the character has always been rather underwritten and never really developed that much. The support character writing for my tastes was too one-dimensional and excessively negative, not all musicians are like how they're portrayed here.
However, there are a fair number of things that are done well. The production values are slick and sharp, without being too dark or overly-bright. The music is not over-emphasised or overused. The script is tightly written and doesn't ever come over as too confused or over-wordy (despite the show in general being quite dialogue heavy) . Nor does it come over as juvenile or glossed over, with a little more meat to what is addressed it would have been even better. The exchanges between Lewin and Wright are indeed deliciously juicy.
Although the story is nothing earth shattering or exceptional, the legal scenes do have moments of tension. All the performances are fine, lead and supporting.
Overall, another one of those decent if nothing special episodes. 6/10.
The music-related setting is nothing innovative for 'Law and Order' and was another setting re-visited quite a number of times in the franchise since. That didn't bother me massively though, being a classical musician myself and being raised on and around it for as long as can be remembered. "Dissonance" has a pretty familiar story and the execution is pretty familiar too. It is a pretty good episode still and there are worse episodes of 'Law and Order', but this is not an example of the show in its prime and instead when it was starting to run out of new ideas.
"Dissonance" has very little that is surprising or original, due to having plot tropes that have been seen before quite a number of times, and the first half in particular is pretty routine and not that interesting outside of Jerry Orbach and Jesse L. Martin. How it was all going to map out was never really in question, the twist not being much of one at all and far from a shock.
Part of me does agree that Lewin never really ignited as a character. She has some nice moments here and Dianne Wiest does well with what she's given, but the character has always been rather underwritten and never really developed that much. The support character writing for my tastes was too one-dimensional and excessively negative, not all musicians are like how they're portrayed here.
However, there are a fair number of things that are done well. The production values are slick and sharp, without being too dark or overly-bright. The music is not over-emphasised or overused. The script is tightly written and doesn't ever come over as too confused or over-wordy (despite the show in general being quite dialogue heavy) . Nor does it come over as juvenile or glossed over, with a little more meat to what is addressed it would have been even better. The exchanges between Lewin and Wright are indeed deliciously juicy.
Although the story is nothing earth shattering or exceptional, the legal scenes do have moments of tension. All the performances are fine, lead and supporting.
Overall, another one of those decent if nothing special episodes. 6/10.
helpful•81
- TheLittleSongbird
- May 2, 2022
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