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Speaker 1: You're listening to the Saturday Morning with Jack Tame podcast

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Speaker 1: from News Talks eDV.

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Speaker 2: Joessey in the rain, what a glororious speed and I'm.

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Speaker 3: Game, I'm laughing at cloud.

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Speaker 2: So dark and the suns in.

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Speaker 1: My heart for love left us storm Clouds.

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Speaker 2: Chase glonyw Yellan, Good morning, Welcome to News Talk's ed Vy.

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Speaker 2: Jack Tame with you through the twelve o'clock. Next year,

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Speaker 2: the Auckland Philarmonia Orchestra is going to perform an incredible

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Speaker 2: one night only performance of gene Kelly, A Life in Music.

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Speaker 2: The show is a mesmerizing trip down memory lane with

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Speaker 2: a combination of film clips, stories, and live performance, highlighting

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Speaker 2: the legendary dancer, director, and choreographer Gene Kelly, who celebrated

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Speaker 2: and popularized dance mainstream cinema. Leading the orchestra as musical

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Speaker 2: conductor extraordinary Neil Thompson. Neil has had all sorts of

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Speaker 2: amazing jobs. He's worked in concert halls and with orchestras

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Speaker 2: around the world. He actually did a similar live show

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Speaker 2: Titanic in Auckland and twenty eighteen, and Neil is currently

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Speaker 2: the principal conductor and Artistic director at Orchestra Philharmonica Jigoyas,

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Speaker 2: the Philharmonic Orchestra of Goyas in Brazil, and he joins

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Speaker 2: us from Brazil this morning, Calda, good morning, good morning.

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Speaker 2: It is great to be Yes, well, good afternoon. Yes,

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Speaker 2: it is a bit of a bit of a head

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Speaker 2: spin when we're going from Brazil to Auckland. But of

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Speaker 2: course you are very soon going to be coming from

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Speaker 2: Brazil to Auckland. And so tell us first of all

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Speaker 2: a little bit about why tell us about gene Kelly

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Speaker 2: A life in music.

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Speaker 3: Well, my connection with the show is very personal because

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Speaker 3: earlier in my career I did a lot of these

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Speaker 3: movies live with symphony orchestra. About ten fifteen years old,

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Speaker 3: Go and I was booked to do Singing in the

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Speaker 3: Rain at the Album Hall. It was the first time

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Speaker 3: Singing in Rain had been done live a symphony orchestra.

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Speaker 3: And about a month before the show, I got this

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Speaker 3: email from the title was from missus gene Kelly, and

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Speaker 3: I thought, what's what's this? This is interesting? And I

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Speaker 3: had this very friendly note just saying that she was

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Speaker 3: going to be introducing the show and it would be

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Speaker 3: nice to meet me and everything, and so I was

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Speaker 3: expecting this woman in her eighties, you know, to turn up,

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Speaker 3: and then there was this very glamorous woman in her

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Speaker 3: late fifties who I met at the albut Hall and

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Speaker 3: we became friends. We got on well, I got We

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Speaker 3: got on well really from from the off and we

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Speaker 3: did Singing in the Rain in Dublin. We did it

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Speaker 3: also another show in London, and Patricia told me that

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Speaker 3: she'd been thinking about making a show which really showed

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Speaker 3: Genes the range of his work, you know, and he

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Speaker 3: was if you only have to listen to him sing,

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Speaker 3: he was one of the most innately musical people that

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Speaker 3: you've ever that one could I even talk like I've

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Speaker 3: met him. It's interesting, that's that's something I'll talk about,

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Speaker 3: one of the most instinctive. There's not a sound that

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Speaker 3: comes out of his mouth or a move that he

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Speaker 3: makes isn't musical. So she wanted it to be something

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Speaker 3: that highlighted this, you know, Geen Kenny and music. So

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Speaker 3: it's basically two and a half hours of clips from

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Speaker 3: various films and TV programs across the length along the

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Speaker 3: length of his career. The films have been absolutely scrubbed up,

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Speaker 3: so you've never you've never seen prints like it now.

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Speaker 3: I mean, it's it's fantastic. They're so clean, the sound

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Speaker 3: is so clean, and what is important is that the

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Speaker 3: music is the original orchestrations that were used in the

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Speaker 3: movies which have been reconstructed. This might not seem like

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Speaker 3: such a big deal, but when you know that, when

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Speaker 3: one chief executive of MGM arrived, I think in the seventies,

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Speaker 3: that would be wrong. He decided that basically the library

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Speaker 3: where all the music from all these great musicals was

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Speaker 3: was taking up space. So now it's landfill under a

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Speaker 3: golf course summer in California. So all these scores and

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Speaker 3: the orchestral parts were destroyed. So my friend and old student,

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Speaker 3: John Wilson, who's made really a career out of doing this,

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Speaker 3: has reconstructed all these scores to their original glory. And

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Speaker 3: he had to do most of it just by seeing

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Speaker 3: little sketches on manuscript paper, but by listening to the recordings.

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Speaker 3: I mean, it's an extraordinary sort of labor of love.

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Speaker 3: So this film is very special for that because it's

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Speaker 3: really authentic. You know, the clips look fantastic and it's

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Speaker 3: the original orchestrations. So this show was in gestation for

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Speaker 3: many years. I think there was a the things of

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Speaker 3: getting the rights to the movies when any anytime you

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Speaker 3: do something with film music, you spend more time speaking

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Speaker 3: to lawyers than you do to musicians. And that's just

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Speaker 3: the way it is. So it took Patricia a long

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Speaker 3: time to get it into shape. Then we did the

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Speaker 3: premiere of it must have been before the pandemic in

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Speaker 3: Scotland in Glasgow and Edinburgh. Then the year later in Dublin.

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Speaker 3: Last year we did three shows in Seattle, and we've

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Speaker 3: just done two shows in Vancouver last weekend, in fact,

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Speaker 3: last Saturday, last Friday and Saturday was in Vancouver. So

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Speaker 3: and now we're coming to New Zealand.

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Speaker 2: Yeah, that is that is remarkable, Neil. So I'm going

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Speaker 2: to ask you a bit more about about Jane and

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Speaker 2: the kind of relationship you feel with Jane. In a moment,

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Speaker 2: can you just just talk to us about how the

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Speaker 2: actual mechanics of the show works. So from from the

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Speaker 2: perspective of someone in the audience, the orchestra is playing

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Speaker 2: music which is perfectly timed to the projections on screen, right, but.

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Speaker 3: They projected the film and the orchestra is playing live

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Speaker 3: and then it's my problem to make sure it's synchronized.

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Speaker 3: And then in between each clip, Patricia talks about the films,

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Speaker 3: talks about the clips. But I think what is wonderful

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Speaker 3: is that she she has so many stories about Gene

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Speaker 3: that people come away to feeling that they know him

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Speaker 3: a little bit. And I mean, really, now, I've done

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Speaker 3: this show so many times, I feel like I've worked

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Speaker 3: with him, and when I when I talk about him,

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Speaker 3: I call him Gene, which could sound sort of very pretentious,

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Speaker 3: but it's completely un self conscious. I feel I know

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Speaker 3: the man. And this is wonderful. It's very it's it's

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Speaker 3: very rare to have that sense of, you know, with

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Speaker 3: a person who's no longer with us, to have that

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Speaker 3: personal collection. And this is what takes away from it.

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Speaker 2: It is amazing that you can form that kinection. I

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Speaker 2: suppose it's the kind of magic of the arts, isn't it?

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Speaker 2: And and especially when as you described, the process involves

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Speaker 2: a certain amount of reverse engineering. Right like you, you

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Speaker 2: are going back and unlike a composer who would be

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Speaker 2: writing something afresh and writing something from scratch, it's taken

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Speaker 2: that meticulous attention to detail, to listen to every quaver

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Speaker 2: and semiquaver, every single instrument, every every pause, every coder,

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Speaker 2: and work out how the whole kind of jigsaw fits together. Like,

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Speaker 2: give us a musicians perspective, How would that compare to

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Speaker 2: a regular composing process.

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Speaker 3: Well, I mean, for a for a start, you're you're reconstructing.

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Speaker 3: So even if you were a composer, you're not putting

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Speaker 3: your own voice into it. You're reconstructing someone else's. It's

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Speaker 3: a recreative process rather than a creative process. Because if

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Speaker 3: you're a composer and you're writing a symphony, it's going

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Speaker 3: to be your voice. But as in the recreation process,

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Speaker 3: you're trying to find the essence of somebody else's voice.

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Speaker 3: And that's what's so fascinating to He's reconstructed a lot

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Speaker 3: of the movies. He reconstructed that the Wizard of Oz,

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Speaker 3: and he said he spent like six hours over three

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Speaker 3: bars listening with his ear up against the speaker, trying

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Speaker 3: to work which instrument was playing.

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Speaker 2: Which note, surely, surely AI for this, now, Neil, come on,

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Speaker 2: there must be some technical solution.

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Speaker 3: Is AI compositions that? I mean, maybe in the future

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Speaker 3: they'll be good. That's terrible.

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Speaker 2: Yeah, so so for you flying in young like you

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Speaker 2: say you've been, you've been around the world recently. How

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Speaker 2: does it work with the Philharmonic. You just have to

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Speaker 2: hope that they've been doing their homework and you fly

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Speaker 2: into Auckland and basically you sit down, you turn on

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Speaker 2: the screens and you find out.

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Speaker 3: I mean basically. I mean, if I remember from the

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Speaker 3: last time you have you have a rehearsal with walks

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Speaker 3: clearly to go through everything. Then you'll have a rehearsal

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Speaker 3: on the day of the concert when you run everything

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Speaker 3: with the film. But I mean, and I know this, Boks,

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Speaker 3: I remember this socks. They're very good, they're very quick,

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Speaker 3: very nice. So I'm not I'm not worried about it

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Speaker 3: at all. My only worry as myself because to synchronize

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Speaker 3: with the film, even though I've done it seven or

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Speaker 3: eight times, it's if you're half a second out or

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Speaker 3: you know, it doesn't sink so and people notice in

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Speaker 3: a way, if you do your job perfectly, nobody notices

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Speaker 3: you're there. But if you're not together with the film,

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Speaker 3: oh yeah, there's a conductor. There's a conductor there, you know.

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Speaker 2: So that's a very good point. Sorry to interrupt, you.

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Speaker 2: It's a very good point because if you were, if

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Speaker 2: you were conducting an orchestra regularly, no one notices if

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Speaker 2: you are going slightly faster or slower than you should be.

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Speaker 2: And if you are conducting an orchestra for say a ballet,

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Speaker 2: well we can always play in the bellerinus, right, But

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Speaker 2: it's all on you. It's all on Niel. If you're

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Speaker 2: everyone knows that.

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Speaker 3: Neils Off I think you said. He always goes into rehearsal.

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Speaker 3: He says, so what do you want today? Too fast

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Speaker 3: or too slow?

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Speaker 2: So that's the works very good. Hey, hey, Neil, tell

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Speaker 2: us a little bit about your story. How did you

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Speaker 2: end up in Brazil of all places.

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Speaker 3: It's the other part of my career is I was

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Speaker 3: a professor at the Rock College of Music for fourteen

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Speaker 3: years and teaching is something that I absolutely love and

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Speaker 3: I still do mostly master classes. And I did in

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Speaker 3: two thousand and five of two thousand and six a

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Speaker 3: workshop at the Rock College of Music, and that it

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Speaker 3: was a summer school, and there was a guy from

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Speaker 3: Guyania was one of the students. And he said to me, oh,

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Speaker 3: we was keep in touch and must come and conduct.

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Speaker 3: We have a little we have an orchestra there, and

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Speaker 3: you know, and I didn't hear anything for like six

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Speaker 3: or seven, yeah, six years, and then out of the blue,

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Speaker 3: I got an email, would you like to come and

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Speaker 3: conduct this new uct We've just started a new professional orchestra.

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Speaker 3: And they gave me two concerts and it went very well.

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Speaker 3: There was a good connection between the orchestra and me

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Speaker 3: and the chief executive, and the orchestra said, how would

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Speaker 3: you like to be our new principal conductor? I said, okay, yeah,

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Speaker 3: I would like that very much. So it was it

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Speaker 3: was one of those chants meetings that led that led

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Speaker 3: to this.

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Speaker 2: Yeah, how do you find it? How how's the life?

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Speaker 2: You know, having having held other positions around the World

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Speaker 2: War what, what's the life like living in central Brazil.

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Speaker 3: Yeah? It's very hot and it's very dry, that's for sure,

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Speaker 3: which makes problems for the instruments of the musicians, so

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Speaker 3: they suffer a little bit with that. What is wonderful

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Speaker 3: about goy Ass go Ass is the sort of Texas

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Speaker 3: of Brazil. It's a big cattle state and Guyana, I

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Speaker 3: guess you could call the Nashville of of of Brazil.

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Speaker 3: It's the home of Brazili and there's something called certain Asia,

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Speaker 3: which is Brazilian country and western and it's huge here.

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Speaker 3: I mean, these, these people are there, you are absolutely huge.

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Speaker 3: There millions and millions and millions of followers. So go

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Speaker 3: Ass was only really known for certain Asia. So when

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Speaker 3: I came, everything was possible because everything was new. There

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Speaker 3: was no in some powder. You've got a history of

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Speaker 3: classical music and you can only oh, you can't play

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Speaker 3: this composer, you have to play this, you have to

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Speaker 3: do this and that. The audience is very slightly older,

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Speaker 3: middle class, very middle class. And my job in Brazil,

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Speaker 3: all my concerts are free. So it's the democratization, democratization

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Speaker 3: of classical music. And this is wonderful to see our

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Speaker 3: public go from students to old people. The demographic is

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Speaker 3: very wide. And when I came, people said to me,

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Speaker 3: you can't do concerts longer than sixty minutes. You can't

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Speaker 3: play this composed of people will be bored. You've got

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Speaker 3: to play popular stuff. I said, no, I'm going to

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Speaker 3: I'm gonna do this, show your public some respect, and

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Speaker 3: we did in July a Bruckner Symphony seventy five minutes.

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Speaker 3: This would have been unthinkable that ten years ago that

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Speaker 3: a public would have sat through. I mean when I

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Speaker 3: came on, I took my bow and I thought when

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Speaker 3: I turned around at the end, there's going to be

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Speaker 3: like three people left in the theater, and it was

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Speaker 3: still full, you know, And that for me, that was

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Speaker 3: really a sense of classical music not dying. You know,

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Speaker 3: in Europe we're very pessimistic about this. All custom music's dying?

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Speaker 3: Is that? Not in Brazil, it's not. You know, every

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Speaker 3: city has a little orchest. It can be a social project,

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Speaker 3: it can be an amateur orchestra, it can be an

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Speaker 3: orchestra in the church. But there's a there's an audience

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Speaker 3: here for pastor music. You've just got to find a

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Speaker 3: way to build it and to communicate it. So from

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Speaker 3: that point of view, I can play pieces that they

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Speaker 3: could never play in some power Oreo because the audiences

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Speaker 3: are more conservative and more traditional. So everything is possible here.

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Speaker 2: Well, look, Neil, we are so excited to have you

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Speaker 2: come to New Zealand. It does sound like an amazing show.

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Speaker 2: So look, have a wonderful little break over the Christmas

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Speaker 2: period and yeah, we look forward to seeing you very.

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Speaker 3: Soon in March. Great that is very much that.

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Speaker 2: Is Neil Thompson. We're going to have all the details

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Speaker 2: for gene Kelly a life and music up on the

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Speaker 2: News Talks. He'd be website. So, like I said, it's

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Speaker 2: playing for one, not only March fifteenth, twenty twenty five.

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Speaker 2: Even saying twenty twenty five still feels weirday. It's going

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Speaker 2: to be the Auckland Town Hall and tickets for all

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Speaker 2: shows at the Auckland Arts Festival are available at www

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Speaker 2: dot a a F, dot co dot nz AAF Auckland

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Speaker 2: Arts Festival. I think you work that out.

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Speaker 1: For more from Saturday Morning with Jack Tame, listen live

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Speaker 1: to News Talks B from nine am Saturday, or follow

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Speaker 1: the podcast on iHeartRadio