Raiders of the Lost Ark with the SSO

Of all the concerts this year the Sydney Symphony Orchestra’s live performance of Raiders of the Lost Ark to the movie was the one I was most looking forward to. And we almost missed it!

Kids have a different sense of time and urgency to adults and just getting out of the house was a enough of a struggle. The Thai restaurant was just opposite the station, but it is never safe to assume a frequent and fast service when it comes to Sydney trains.

Google Maps said we would be a few minutes late. Okay, let’s challenge the last bit, the walk.

Trackwork on the City Circle Line meant that we couldn’t ride the Airport Line train direct to Circular Quay. Change at Wolli Creek, get out at Martin Place and run down Macquarie Street.

Only problem was that B doesn’t do karate like Alex and I and doesn’t have quite the same fitness levels. So Google Maps was pretty accurate in the end.

Puffing, we showed the doorman our tickets and were ushered to our seats. Fortunately the conductor, Nicholas Buc, was giving an introductory talk. We’d made it just in time!

Our not cheap seats in the box had views of the orchestra, but the screen was a little bit obscured, a disappointment. Though I was here for the orchestra and the music, not the movie.

In my opinion the movie is a distraction, but it does serve to entertain the rest of the family and to force the orchestra to do its best. No room for lazy interpretation, they must be on the ball to synchronise with the screen.

And they were! This was the fifth live score performance I have attended, all with the Sydney Symphony Orchestra at the Opera House and it was by far my favourite. Raiders of the Lost Ark is one of the great adventure movies and the score is by the greatest film composer of all time: John Williams.

Though I love almost all of his scores, the eighties were my favourite period of his composition; the second and third Star Wars movies, ET and the first three Indiana Jones films, all from Steven Spielberg and George Lucas. Watching the orchestra below it became obvious how Williams created his lush sound: He utilises the full orchestra.

Strings, woodwind, brass and percussion, all playing at once, but playing counterpoint, multiple melodies and rhythms. There is so much the listen to, to listen for. The lietmotifs tell the story, the hint of exotic sounds from conventional instruments setting the scene. This is mastery of the orchestra.

The orchestra were mostly up to it, though the tuba sounded a little ragged at times. John Williams actually wrote a concerto for this frequently ignored instrument. I heard the Melbourne Symphony perform it a few years ago and Williams’ certainly demands much from his tuba players.

The strength of Williams’ score is evident in the the most exciting sequence of the movie, the desert chase. Both B and I were too busy observing the energy of the orchestra to watch the thrills on screen.

Alex was awake throughout the whole performance, despite its lateness after a busy Saturday, and, unlike Babe, there were only a couple of complaints from him. He is quite familiar with Indy’s theme!

Harking back to the old days of cinema, there was even an intermission, after which the orchestra played Mutt’s theme from the fourth Indiana Jones movie: Kingdom of the Crystal Skulls.

Forget the so called Golden Days of cinema, the subject of the previous concert, this was Hollywood at its best. I’m so glad we made it!


Irreverently irrelevant. Sysadmin, developer, web dude in a science research agency. WordPress, Japan, planes, trains, Arduino, Raspberry Pi/Pico, puns, dad jokes, etc

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