The concert this evening was a double-header. The first half was a celebration of music from the Alien film series, and the second was a tribute to Jerry Goldsmith in honor of what would have been his 80th birthday.
Conducted by Diego Navarro, music from Alien was preformed, as imagery was projected on screen (it was not meant to be live-to-picture sync, however). Goldsmith’s score to Alien is iconic, creepy and brilliant – and hearing it performed live was bone-chillingly awesome. This was, of course, followed by two cues from James Horner’s Aliens score, one of my all-time favorites.
After that came a female soprano to join the orchestra in two cues from Alien 3 by Elliot Goldenthal, and then a suite of music from John Frizzell’s score to Alien Resurrection. Brian Tyler – who had a small introductory video in which he announced his intention to appear at next year’s Fimucite 4 festival – had a short overture from Aliens vs. Predator: Requiem performed, concluding the first half.
For the second half, composer Joel McNeely was supposed to conduct the Goldsmith portion of the concert, but had fallen ill prior to the festival and was back in the USA recovering. So Mark Snow jumped in to fill in for him, and had been practicing all week – there were a lot of difficult passages to conduct! Music played not only included some popular bits like Star Trek: First Contact, Planet of the Apes, Gremlins and Poltergeist, but also lesser heard pieces, like The Illustrated Man, Capricorn One, The Sum of All Fears and The Swarm. Before the final piece, special awards were given out to people for their help with the festival, including McNeely (in absentia), Robert Townson, and Carol Goldsmith.
The final piece was a killer suite of music from The Omen, and Diego Navarro returned to the stage to conduct the full orchestra and choir in this awesome presentation of Goldsmith’s only Oscar-winning work. But there was more. Two encores were yet to come! First up was the main title from Total Recall, which was great to hear but was sadly missing the necessary synth elements… and then something I never thought I would hear: two cues from The Final Conflict, one of Goldsmith’s best scores. It was truly a phenomenal way to end the concert!