REVIEW: The Best of Bond, Lighthouse, Poole
Music is nothing if not about emotion, emotional responses and experience.
That's as true of the enduring phenomenon of the James Bond soundtracks and theme songs as of anything else, perhaps even more so because what they evoke and represent is so multi layered and complex.
I imagine all those at the sell out performance of the Bournemouth Symphony Orchestra's Best of Bond might have felt much the same.
The iconic pieces of music from the likes of Paul McCartney, Tom Jones, Louis Armstong, Matt Monroe, Shirley Bassey, Adele, Carly Simon, Tina Turner, Billie Eilish and Gladys Knight and more, take us not only to a particular film or films, but also to our own life and times, experiences, memories and emotions.
A spectacular evening spanning seven decades (with the understated but hugely entertaining maestro, David Arnold at the podium) began of course with the ubiquitous 'James Bond Theme' composed by Monty Norman for the very first film in 1962, Dr No.
Throughout, West End soloist Jacinta Whyte with her raw vocal power did a superb job in the challenging role of being everyone from Bassey (Goldfinger) to Adele (Skyfall), Garbage (The World is Not Enough), Knight (Licence to Kill) and even Sam Smith (The Writing's on the Wall from Spectre).
She was also Dusty Springfield with The Look of Love from the 1967 parody Casino Royale, joking: 'The old ones are the best.'
Listening to pieces without the vocals allows more opportunity to appreciate just how beautiful and intricate they actually are, particularly You Only Live Twice, From Russia with Love, We Have All the Time in the World and the underrated Moonraker.
There was plenty of the all action drama, from Thunderball to The Living Daylights and The Man with the Golden Gun.
The legend John Barry's evocative chase scene score from 'Russia' also made an appearance.
Barry would go on to compose the soundtracks to eleven Bond films.
After a piece from the score of The Spy Who Loved Me by the American composer Marvin Hamlisch, Arnold suggested it could stand comparison with the likes Shostakovich and told the audience: 'It is really is that good and people dismiss film music is trite and not being artistic enough. Well I think Hamlisch shows that's not the case.'
Such an incredibly diverse set of songs and themes gave every musician in every section a chance to play their part. The soaring brass, haunting woodwind, stunning strings and big, dramatic percussion.
The Best of Bond was also the best of the world-class BSO.
Nobody Does it Better? Undoubtedly. Licence to Thrill. You bet.
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