Written by Meikee Magnetic
Edited by Sason Bishope Parry
It was a lively Saturday evening in San Francisco outside the Davies Symphony Hall, Saturday, September 25th to be exact. This was my first Symphony outing since the unprecedented pandemic shut down the World and our beloved live music scene, so you can imagine the exhilaration of being able to attend a concert again. As we walked up to the venue, I noticed restaurants were more bustling than usual and traffic was a bit heavier around the vicinity. Our beautiful City Hall was glowing a gorgeous majestic purple befitting of any prince, possibly for the prince of Nightlife. Maybe for some, it’s the first time going to an event since the 1st shutdowns and for some, it’s a continuum of the search for beauty in all things artful.
Once we got settled in our seats the anticipation was overflowing for the viewing of 1995’s classic movie “Apollo 13”. Of course, we are living in a new normal World, so it was immediately announced that we keep our masks on, which was another reminder that our lives have changed, but nonetheless, the excitement was in the air. One element that remained is the elegance of the San Francisco Symphony, so much prestige, talent and years of class for one of the World’s best orchestras. This was a first for me to watch a feature film while the symphony played the musical score live from start to finish. The lights turned down, the movie started on the big screen, and the orchestration blended without a hitch. It was magic and at times you forget where you are, and it almost feels like you’re in an actual movie theatre. That is until our amazing Conductor and bandleader for the night, the great Constantine Kitsopoulos stands on stage and with a subtle gesture, leads the combination of strings, horns, and drums together to enhance our audio experience and senses.
The Apollo 13 drama is one of director Ron Howard’s masterpieces that went on to win multiple Academy Awards. The film tells the true story of the 1970 lunar mission showcasing NASA’s brave and focused effort to get the three astronauts back to Earth safely. Film star Tom Hanks plays cool-headed astronaut Jim Lovell, when you fly to Mars via Richard Branson’s Virgin rocket, this is who you’d want as a travelling companion. The live orchestra brought out even more emotion on top of Howard’s masterfully directed scenes and gets you to a point of deep involvement. All senses are heightened when the reality of being in space orbiting the moon and the chances of getting home are close to none. Thank the universe for the intermission and an opportunity to take it all in before part 2!
This is one of my favourite parts of the night, the time when you can go sightseeing for fashion, grab a cocktail, mingle with other fans, and walk around this enchanting hall that never ceases to amaze. As we entered the second part of the evening, we double-checked our masks and took a seat with even more anticipation. The marching drums, horns, and rhythmic sequences together built a steady flow of nonstop tension. Wow, what a concert, what a film, just spectacular on all parts. As the film ends, the credit’s role as the brand continues to play on building with each beat. Everyone sat still, as there was no rushing to the exits. I think the pandemic has gotten people to appreciate life and incredible performances like this and to take in every second as though it might all end again tomorrow. The ending credits have never been so entertaining, yes it should always be this way, staying until the last minute of any show to take it all in, as that’s what living fully is about. A high point of the night was just outside the hall where a young quintet of musicians played while the patrons exited. It was the perfect magical ending to a special night of live music again. Ah, our beloved live music is back, and what a thrill to be able to see the SF Symphony jam again and to be part of the energy of everyone that took in this memorable night, one that will go down in the books as the time when live music came back and we couldn’t be happier. I’ll leave you with David Bowie’s 1969 musical masterpiece “Space Oddity” which debuted around the same time as the Apollo 13 Mission:
“Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills and put your helmet on
Ground Control to Major Tom (ten, nine, eight, seven, six)
Commencing countdown, engines on (five, four, three)
Check ignition and may God’s love be with you (two, one, liftoff)
This is Ground Control to Major Tom
You’ve really made the grade
And the papers want to know whose shirts you wear
Now it’s time to leave the capsule if you dare
“This is Major Tom to Ground Control
I’m stepping through the door
And I’m floating in a most peculiar way
And the stars look very different today
For here
Am I sitting in a tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do
Though I’m past one hundred thousand miles
I’m feeling very still
And I think my spaceship knows which way to go
Tell my wife I love her very much she knows
Ground Control to Major Tom
Your circuit’s dead, there’s something wrong
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you “Here am I floating ’round my tin can
Far above the moon
Planet Earth is blue
And there’s nothing I can do”
Feature Film: Apollo 13
Conductor: Constantine Kitsopoulos
Composer: James Horner
Director: Ron Howard
For complete info on the SF Symphony go to: www.sfsymphony.org
