27 & 28 june, 8pm adelaide festival theatre · pdf filejames bond theme norman arr....

see. hear. feel.

PLAYS

27 & 28 JUNE, 8PM ADELAIDE FESTIVAL

THEATRE

Adelaide’s No.1

kwp!

SA

S10

255

3ADELAIDE SYMPHONY SPECTACULAR SERIES

James Bond Theme Norman Arr. Coleman

The World Is Not Enough Arnold Arr. Coleman

Goldeneye Bono/Edge Arr. Forgie

Live & Let Die McCartney Arr. Coleman

Diamonds Are Forever Barry Arr. Coleman

Die Another Day Madonna Arr. Coleman

Licence To Kill Knight Arr. Coleman

You Know My Name Arnold Arr. Coleman

James Bond Music Barry Arr. Coleman

Barry Arr. Forgie We Have All the Time in the World

A View to a Kill Barry Arr. Coleman

Never Say Never Again Legrand Arr. Forgie

For Your Eyes Only Conti Arr. Forgie

The Living Daylights Barry Arr. Coleman

Interval

Dr. No Suite Norman Arr. Coleman

Goldfinger: Theme Barry Arr. Forgie

From Russia with Love Bart Arr. Forgie

All Time High Barry Arr. Forgie

Another Way to Die Arnold Arr. Raine

You Only Live Twice Suite: Barry Arr. Forgie

Nobody Does It Better Hamlisch Arr. Coleman

The Look of Love Bacharach Arr. Coleman

Skyfall Adele Arr. Raine

Moonraker Barry Arr. Coleman

Theme Song: Barry Arr. Forgie You Only Live Twice

Thunderball Barry Arr. Forgie

The Man with the Golden Gun Barry Arr. Coleman

Tomorrow Never Dies Crow Arr. Forgie

Program approx 2hrs including interval

ASO PLAYS

Guy Noble - Conductor/Presenter Debora Krizak - Vocalist • Blake Bowden - Vocalist

4 ADELAIDE SYMPHONY SPECTACULAR SERIES

Guy Noble is a conductor, broadcaster, pianist, writer, composer, producer and raconteur who loves all genres of music and has played, conducted or talked about most of them. He has conducted the Sydney, Melbourne, Adelaide, Western Australian, Tasmanian, Queensland and Canberra Symphony Orchestras, the Auckland Philharmonia, Hong Kong Symphony and Malaysian Philharmonic orchestras and has also been Musical Director and Musical Supervisor of many major musicals, including Phantom of the Opera, Sunset Boulevard, South Pacific, Man of La Mancha, Gypsy and the Music of Andrew Lloyd Webber.

He was the host of the Breakfast show on ABC Classic FM from 1999-2001, and is still a regular guest presenter on the network. He writes a regular column for Limelight Magazine and has worked with a wide variety of international and local artists including Harry Connick Jnr, Ben Folds, The Beach Boys, The Whitlams, The Pointer Sisters, Human Nature, Dianne Reeves, Glenn Frey, Randy Newman and Clive James. He has written a book about music (The Music Explorer), recorded 12 CDs for ABC Classics and is the host of the Music on Sundays series for The Queensland Symphony.

Recent performances include Great Opera Hits (Sydney Opera House) Opera in the Alps with Anthony Warlow, Opera in the Markets with Teddy Tahu Rhodes, Wallace and Gromit’s Musical Marvels (Sydney Opera House) Symphony Under The Stars (TSO), Classical Spectacular (Sydney Symphony) as well as rearranging and producing the new on-field version of the team song for the Adelaide Crows and writing and performing the Guy Noble Radio Show on iTunes. He is also currently rehearsing for Opera Queensland's new production of Puccini's La Boheme.

GUY NOBLE


Most recently Blake starred as Lt. Joseph Cable in the national tour of Opera Australia’s South Pacific, and has been a member of The Opera Studio Melbourne and performed with Gertrude Opera, starring as Prince Charming in their 2013 production of Massenet's Cinderella.

After winning the prestigious ANZ Trustees Rob Guest Endowment Award in 2011, Blake was thrilled to create the role of Pat Matthews in the world premiere of the Cat Stevens musical Moonshadow.

Also in 2011 Blake played Lysander in the Australian tour of Eamon Flack’s acclaimed production of A Midsummer Nights Dream, and was a principal artist in the international tour of The Music of Andrew Lloyd Webber for The Really Useful Group.

The children's charity The Alannah and Madeline Foundation invited Blake to perform as a soloist at the Starry Starry Night gala for the Crown Prince and Princess of Denmark during their 2011 visit to Australia.

In 2010 Blake appeared in the Australian tour of West Side Story for The Ambassador Group playing the role of Snowboy. He also regularly performed the lead roles of Tony and Riff.

Blake has appeared numerous times as a soloist in Stuart Maunder’s tribute concerts to Richard Rodgers, The Sound of Rodgers. Other music theatre credits include: original cast member of Dirty Dancing Australian and New Zealand tours for Jacobsen Entertainment, The Boy From Oz Arena Tour with Hugh Jackman for Ben Gannon/Robert Fox and the TML production of Jekyll and Hyde.

Blake has played the roles of Abdul in Louis Nowra’s Beatrice, Corey Matthews in Debra Oswald’s Skate for ATYP and Meryl Tankard’s VX18504 for ATYP at Carriage Works. He was also a member of the vocal group ARYA whose concert performance highlights include Carols in the Domain 2008 and the Never Say Never tour with Wendy Matthews and Ian Moss. Film and television credits include roles in The Wiggles Movie and Home and Away.

Blake is a proud graduate of The McDonald College of Performing Arts, Sydney and holds a B.A. in Performance Studies from Sydney University.

BLAKE BOWDEN


Originally from Adelaide, Debora commenced her professional career travelling the country for almost a decade in the highly recognized 70s glam rock band “Chunky Custard”, playing ‘Miss Candy Bar’. Having completed a Bachelor of Arts in Performing Arts, Debora joined Network Ten’s national children’s program The Music Shop as presenter. In 2004, she launched into professional musical theatre after being offered Mel Brooks’ The Producers. From there she went on to appear in Titanic – a new musical for Seabiscuit Productions and following this, was invited to be a walk in cover to Rhonda Burchmore in Respect the Musical.

After giving birth to twins in 2008, Debora was soon back in lycra playing the role of “Shania” in Guy Noble’s Karaoke The Musical. This was then followed by a national tour of the stage adaptation of Calendar Girls. In 2009, Debora starred as femme fatale “Gina Wong” in Stalker Theatre’s worldwide debut of Shanghai Lady Killer for the Brisbane and Melbourne International Arts Festivals.

Debora’s most recent and notable role as ‘Sheila’ in the 2012 Helpmann Award winning Musical – A Chorus Line, earnt her several award nominations: a Helpmann Award for Best Supporting Actress, Sydney Theatre critics and GLUG awards as well as winning ‘Theatre People’s’ most popular actress in a musical.

In 2014, Debora earnt rave reviews in the dual roles of Nickie and Ursula in Hayes Theatre Company’s debut production of Sweet Charity.

Debora’s corporate performances have seen her travel internationally with highlights including performing at high profile events such as Carols By Candlelight, the AAPT Tennis finals, the opening of the Paralympic games, performing the televised national anthem for the Le Mans International car race and NRL Sydney. Recently, Debora was invited to perform the national anthem for the Ashes Test Series, televised worldwide, and recorded a revamped version of the Adelaide Crows club song that she performed live at their first home game at the new Adelaide oval.

Debora’s other live television appearances include Good Morning Australia with Bert Newton, Ernie and Denise, Live and Kicking and the 2004 Logie Awards. She has also appeared in various television commercials and is currently the face of CHOOSI as well as appearing regularly as a product presenter on channel Nine and Seven’s morning shows. Just recently, Debora launched her own Cabaret show CABBARET- a biopic of the Swedish supergroup ABBA, co written with Darren Mapes and debuting at The Sydney Cabaret Festival in 2014.

DEBORA KR IZAK

With the Adelaide Festival Centre on our doorstep, Riverside Restaurant is an ideal location to dine and gather with friends before the show. Indulge with our seasonal a la carte menu featuring the freshest produce from local sources complimented by a wide range of regional and international wines.

Bookings and information phone Riverside Restaurant on 08 8238 2384 visit icadelaide.com.au


Principal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

Concertmaster Natsuko Yoshimoto

Musical Chair sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

VIOLINS Elizabeth Layton**(Guest Concertmaster)Shirin Lim* (Acting Associate Concertmaster) Musical Chair supported by

Dr Georgette Straznicky

Alexander Permezel* (Principal 1st Violin)Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Musical Chair supported in the memory of Deborah Pontifex

Janet Anderson Ann AxelbyMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteJulia BrittainHilary Bruer

Musical Chair supported by Marion Wells

Elizabeth Collins Jane Collins

Alison Heike Danielle Jaquillard Alexis MiltonJennifer Newman Julie NewmanEmma Perkins

Musical Chair supported by Peter & Pamela McKee

Judith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Juris Ezergailis**

Musical Chair supported in the memory of Mrs JJ Holden

Carolyn Mooz~ (Acting Associate)Martin ButlerLesley CockramAnna HansenRosi McGowranMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft** Ewen Bramble~ Musical Chair supported by

Barbara Mellor

Sarah Denbigh Musical Chair supported by an anonymous donor

Christopher Handley Musical Chair supported by Johanna and Terry McGuirk

Sherrilyn Handley Musical Chair supported by Johanna and Terry McGuirk

Gemma PhillipsDavid Sharp

Musical Chair supported by Aileen Connon AM

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

Harley Gray~

(Acting Associate) Musical Chair supported by Bob Croser

Jacky Chang Miranda HillBelinda Kendall-Smith

FLUTES Geoffrey Collins**

Musical Chair supported by Pauline Menz

Julia Grenfell Musical Chair supported by Chris & Julie Michelmore

PICCOLOJulia Grenfell*

OBOES Celia Craig**

Musical Chair supported by Penelope & Geoffrey Hackett-Jones

Peter Duggan Musical Chair supported by Dr JB Robinson

COR ANGLAIS Peter Duggan*

CLARINETS Dean Newcomb**

Musical Chair supported by the Royal Over-Seas League SA Inc

Darren Skelton

E FLAT CLARINETDarren Skelton*

BASS CLARINETDarren Skelton*

BASSOONS Mark Gaydon**

Musical Chair supported by Pamela Yule

Leah Stephenson Musical Chair supported by Liz Ampt

HORNS Sarah Barrett** (Acting Principal)Alex Miller~

(Guest Associate)Bryan Griffiths Philip PaineAnna Handsworth

TRUMPETS Martin Phillipson**

Musical Chair supported by Rick Allert AO

Robin Finlay**Gregory FrickTimothy Frahn

TROMBONES Cameron Malouf**

Musical Chair supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian DenbighAndrew Ey

BASS TROMBONEHoward Parkinson*Andrew Ey*

ADELAIDE SYMPHONY ORCHESTRA


ASO BOARDColin Dunsford AM (Chair)Jillian AttrillCol EardleyChris MichelmoreMichael MorleyNigel Stevenson

ASO MANAGEMENT

ExecutiveVincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director ArtisticSimon Lord - Director, Artistic PlanningSophie Emery - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator Finance and HRBruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OperationsHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Operations Assistant

Marketing and DevelopmentPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Development Assistant

FRIENDS OF THE ASO EXECUTIVE COMMITTEEElizabeth Bowen - PresidentAlyson Morrison - Past PresidentAlison Campbell and Michael Critchley - Vice PresidentsHonora Griffith - Honorary SecretaryJohn Gell - Assistant Secretary/ MembershipJudy Birze - Treasurer

TUBA Peter Whish-Wilson*

Musical Chair supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*

PERCUSSION Steven Peterka**

Musical Chair supported by The Friends of the ASO

Gregory Rush

HARP Suzanne Handel*

Musical Chair supported by Shane Le Plastrier

KEYBOARD/SYNTHESIZERKatrina Reynolds*

GUITARS Dylan Woolcock**Colin Elmer**

ELECTRIC BASSDavid Phillips*

Musical Chair supported for a great Bass player with lots of spirit – love Betsy

DRUMSJohn McDermott*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal


THE MUSIC OF JAMES BOND

Ian Fleming Horst Tappe/Lebrecht Music & Arts


As movie franchises go, the James Bond series is one of the most successful in screen history. Ian Fleming didn’t live to see his literary creation become part of the cultural zeitgeist – he died in 1964 – but he would surely have been astounded to discover that the world he invented would on the one hand become the subject of analysis by the likes of Anthony Burgess and Kingsley Amis, and on the other spawn a winning movie formula with global box office receipts in the billions of dollars, surpassed only by Harry Potter and the Marvel franchises.

For half a century Bond has been the subject of endless fascination and heated discussion by movie fans and academics alike. Perhaps part of our seemingly unceasing enchantment is the fact that this fantasy world stemmed in part from Fleming’s own background and is rooted in fact. Born into privilege in Mayfair, London, he came to writing via what most of us would consider a somewhat unorthodox and glamorous career path that included a stint with Reuters, the Stock Market and British Naval Intelligence. If anybody was qualified to write about a British secret service agent who moved in high-class circles, it was Fleming. He even had a retreat in the colonies, ‘Goldeneye’ in Jamaica, where he wintered and wrote the books. He imbued 007 with the same values and with the savoir faire, finesse and confidence that came so easily to one of his class.

Fleming created Bond at a particular juncture in post-World War 2 history which would prove crucial in the character’s entrenchment in the public’s consciousness (and latterly contribute to a feeling of nostalgia which continues to fuel our appreciation of the earlier films). Britain had begun to lose its status as an imperial power and the geo-

political map was shifting, with Cold War tensions rising. The West was in the grip of an emerging consumer culture and revising its notions of class, race, sex and gender. The films, especially, exploited all of these factors, and the mix proved seductive. The first edition of Casino Royale, Fleming’s first Bond novel published in 1953, had a print run of only 4,750. His books enjoyed only modest popularity, but when President Kennedy included From Russia, with Love in his list of ten favourite books in Life magazine, sales took off.

Bond’s first screen outing was an ill-fated TV pilot with American actor Barry Nelson in the title role. The big-screen version followed in 1962 with Doctor No, and the cult of Bond began. Many actors were considered for the role, among them Richard Burton, Cary Grant, James Mason, Peter Finch, Trevor Howard, and Fleming’s own choice, David Niven. But it was swarthy Scot Sean Connery – then relatively unknown – who won the role, reputedly because of his cat-like grace as he crossed the street after the audition. Director Terence Young, himself an urbane sophisticate in the Bond mould, schooled Connery in the kind of etiquette required to inhabit the Bond persona. But the clever casting ensured that glimpses of 007’s occasional brutality still showed through, thanks to Connery’s very masculine bearing. Bond assumed a multi-faceted identity, inhabiting a sophisticated world populated with villains, fast cars, technical gadgetry and beautiful women in exotic locations. As it was the more liberated 1960s, scriptwriters injected cheeky humour into the dialogue. The double entendres became legendary – ‘Sorry, I can’t. Something big’s come up’ – and Roger Moore would in time bring a more laconic quality to the character.


All of these elements meant that the Bond films could be enjoyed on a number of levels, and it was therefore essential that the music reflect this pluralism. In 1962 rock and roll was challenging jazz and easy listening as the music of choice for the younger generation and it was clear that it was no passing fad. Enter John Barry, who would score no fewer than 11 of the Bond films and turn Monty Norman’s tune into arguably the most instantly recognisable theme music in television and film history.

Barry’s musical credentials were diverse: classically trained, he played trumpet in the army and with his own successful group before working with Adam Faith. This perfectly equipped him to mix all of the elements which would make up Bond’s sound-world. His father ran a cinema business and the young Barry was entranced by the grand symphonic scores that he heard, composed by the pioneers of the Golden Age of Hollywood scoring such as Bernard Herrmann, Erich Wolfgang Korngold, Miklós Rózsa, Franz Waxman and Max Steiner. However one factor set Barry apart from many other film composers (perhaps with the notable exception of Henry Mancini) – his knack for writing a catchy song. His song-writing skills (working with lyricists like Don Black, Lionel Bart, Anthony Newley and Leslie Bricusse) teamed with his scoring abilities were a winning combination for Bond, and many of the theme tunes became chart hits. Musically, he was of the moment and his scores helped define 1960s cinema and television (The Ipcress File, The Knack … And How to Get It, The Persuaders). His insightful instrumentation saw him blend traditional orchestral arrangements with synthesizers, zithers, exotic percussion, funky Hammond organ lines and jazzy combo setups

with flute, vibes, and electric guitar. And of course there was the signature punchy brass, born of his admiration for Stan Kenton. This musical palette underscored Bond’s world to perfection. Barry’s music, as with everything else about Bond, to this day invokes a nostalgia for a world which possibly only ever existed in our collective imagination. Perhaps more than the other Bond composers (Marvin Hamlisch, Burt Bacharach, George Martin, Bill Conti and recently, Michael Kamen, Eric Serra and David Arnold), Barry cemented Bond’s place within our musical and cultural landscape. And let’s not forget the singers, who added some showbiz pizazz and sparkle to the mix. The artists who performed the theme songs in the earlier films – Shirley Bassey, Tom Jones, Nancy Sinatra, Matt Monro, Louis Armstrong – had just the right mix of sophistication, nightclub sassiness, cool, and utter vocal command to earn the right to inhabit 007’s world, where only top talent need apply.

In recent decades Bond has had to compete with newer action heroes like John McClane and Jason Bourne. Over the years contemporary artists such as Wings, Duran Duran, A-ha, Gladys Knight, Garbage and, most recently, Adele have been drafted in to keep up with the times. What sets the Bond movies apart from other action films, however, is that audiences have expectations about what they will see – and hear – onscreen. Viewers might feel cheated if certain elements that have now become part of the Bond experience were missing and the makers, especially the composers, have the challenge of moving with the times whilst staying within this accepted framework. Each new Bond production triggers comparisons with films past. In terms of the music there is a definable ‘Bond sound’ – quite apart

THE MUSIC OF JAMES BOND (CONT)


from the actual theme tune itself – that is unique (so unique, it could be argued, that it readily lends itself to regular parody). David Arnold, who has composed five of the recent Bond scores, was recommended to producer Barbara Broccoli by Barry himself, who had been impressed by Arnold’s album Shaken and Stirred: The David Arnold James Bond Project, featuring new versions of Bond themes. Arnold, adept at working with pop and rock artists and a Barry fan himself, breathed new life into the Bond music. (In a kind of neat display of circularity, Thomas Newman, who scored 2012’s Skyfall, is the son of Alfred Newman, one of the greats of Golden Age Hollywood scoring.) These newest scores synthesise old and new, deftly weaving familiar motifs among modern technology, bringing Bond bang up to date. And with regard to the theme songs, the growing sophistication of rock music videos, many of which now employ feature-film techniques and artistic personnel, means that the music and visuals are interrelated to perfection, reinforcing the cross-media Bond brand.

This penchant for playing around with old and new is reflected in the scripts. In these post-politically correct times the evolution of the Bond phenomenon came full circle when, in Goldeneye, Judi Dench’s M called Bond ‘a sexist, misogynist dinosaur’. The snappy one-liners, the villains, the sophisticates and aristocrats, the music and the songs … we have such a fondness for Bond and his world that, even after some 50 years and 23 films, we’re reluctant to let them go. So sit back, think of England and let the Bond magic rock your world. No double entendre intended.

Lorraine Neilson Symphony Australia © 2008/2014

Maude Adams, Roger Moore and Britt Ekland in The Man with the Golden Gun (1974) DANJAQ/EON/UA/The Kobal Collection


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thank youto our partners

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2012 alone, we backed South Australian community events and organisations to the tune of $6 million.

At Santos, we believe that contributing to the vibrant culture and diverse communities of South Australia is well worth the effort.

Because we’re not just an energy company, we’re a company with energy.

Standing behind our community

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2013, we backed South Australian community events and organisations to the tune of $9 million.

At Santos, we believe that contributing to the vibrant culture and diverse communitiesof South Australia is well worth the effort.

Because we’re not just an energy company,we’re a company with energy.

27 & 28 june, 8pm adelaide festival theatre · pdf filejames bond theme norman arr....

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