Inside Gustavo Santaolalla’s new Spanish ‘Dracula’ score for L.A. Opera’s live show
As a music enthusiast who has had the pleasure of delving into the works of many renowned composers, I must confess that Gustavo Santaolalla stands out as a truly unique artist. His ability to capture the essence of a theme with just a few notes is nothing short of astounding, and his innovative use of unconventional instruments adds a freshness and depth to his music that is simply captivating.
When the L.A. Opera asked Gustavo Santaolalla to compose a fresh score for the Spanish adaptation of the 1931 film “Dracula”, which would be played live alongside an orchestra, the Academy Award-winning composer found himself drawn by the opportunity to blend conventional movie soundtrack methods with an innovative approach.
He notes, ‘Dracula is a fundamental tale.’ I aimed to blend the emotions stirred by old-school horror films within a contemporary context, while infusing it with a powerful dose of romance.
This afternoons quite breezy up in the hills of Echo Park. Today, Santaolalla’s here for a photography shoot at the shared recording studio with his longtime collaborator Aníbal Kerpel – a man of many talents as a producer, master sound engineer, and musical accomplice in crime.
By the soundboard, Santaolalla appears a mystical character from a tale, sporting a long white beard and a cheerful expression. His thoughts are scattered – he’s working on his own unique men’s perfume and crafting a new version of the ronroco, a traditional South American string instrument. However, the impending “Dracula” performance is looming near. He’s thrilled for his debut rehearsal with the Los Angeles Opera orchestra, under the guidance of resident conductor Lina González-Granados.
“I knew nothing about this alternate Dracula film,” he says, referring to the Spanish-language version, shot at night with Latino actors on the same sets used during the day for the Bela Lugosi classic. “I thought that it had very little music and was somewhat languid. I feel my score will allow viewers to bypass the over-the-top antics of those early sound films from the 1930s, and concentrate on the great characters that inform the movie.”
At 73 years old, Santaolalla is a multifaceted mastermind in the realm of soundtracks. His journey began as a young rock star in Buenos Aires with Arco Iris, one of the pioneering rock bands singing in Spanish. The ’90s saw him in Los Angeles, where he rose to become an influential producer in Latin American rock music history. Working alongside Kerpel, he produced some of the most iconic albums for artists such as Café Tacvba, Maldita Vecindad, Julieta Venegas, Molotov, Juanes, and many more.
With his neo-tango group Bajofondo as his primary outlet, it seemed more wasn’t enough. Following the success of his haunting solo album Ronroco among tastemakers in the late ’90s, invitations from Hollywood began pouring into his Echo Park studio. Santaolalla went on to win two consecutive best original score Oscars for “Brokeback Mountain” and “Babel,” and more recently, he’s gained a younger fanbase by composing the music for both the video game and television adaptation of the post-apocalyptic tale “The Last of Us.
A few days ago, a young lady shared with me that she’s been enjoying my music since she was ten. “Scoring for ‘The Last of Us’ at this point in my life has been nothing less than extraordinary,” he shares. “One day, I’ll no longer be around, and people who are 45 or 50 will still be humming the main melody and reminiscing, ‘Do you remember that?’
Kerpel mentions that due to ‘The Last of Us,’ an entire generation who were previously unfamiliar with Gustavo’s work, had the opportunity to discover him. Not only did they appreciate it, but they were also deeply affected by it. I’ve collaborated with this artist for 45 years and I’m still astounded by how modern and pure his music feels. Occasionally, he introduces a new theme with just two or three notes. The raw brilliance of his simplicity resonates on a profound level.
As a musician who teaches himself, Santaolalla doesn’t use sheet music but rather trusts his exceptional ability to compose heartfelt tunes and his unconventional knack for utilizing various everyday items and unique instruments to add depth and tone. For the “Dracula” score, he enriches the Los Angeles Opera orchestra with a Stroh violin (enhanced by a metal resonator and horn), an accordion, and a foley artist and mixer duo. Santaolalla himself will play the guitar and ronroco.
He clarifies that instead of confining himself to only the sounds produced by an orchestra, he chose to expand his horizons. By incorporating synthesizers and samplers into his work, he was able to enhance subharmonics and boost the power of the composition. Michael Ward-Bergeman, a visiting musician, adds an extraordinary touch to the piece by playing the electric accordion, which can create sounds reminiscent of a church organ when used with pedals.
It’s intriguing how Transylvanian folk music seems to have a faint resemblance to tango music. To me, there’s a hint of Carlos Gardel in the character of Dracula, which I find amusing, given that he was a famous Argentine tango singer.
As a movie critic looking to expand my horizons into live performance, I’ve been pondering the intriguing concept of collaborating with Foley artists – sound effects specialists from the world of cinema. For quite some time, I’ve harbored an idea of integrating a Foley artist within my band, as opposed to a traditional percussionist. The allure lies in recreating authentic textures such as the rustling of leaves or the gentle lapping of water through this unique approach.
In the movie, you’ll find sequences featuring galloping horses, with the horse hooves beating in sync with the film’s music. It might be intriguing to have a foley artist involved, even though the orchestra will be performing in semi-darkness. This person would create sounds such as bats flapping their wings, the sound of a storm, and rain, which could add an interesting visual element to the performance.
I wonder if Santaolalla feels anxious about successfully executing each cue while playing the score live, given that the movie will be shown simultaneously.
He explains that for performances like this one, there are usually two rehearsals – one the day prior and another on the day of the show itself. However, he’s astounded by the talent of these musicians. When it’s time to perform live, they truly shine. He’s had similar experiences with orchestras before, but something magical happens during that first performance, making it an exceptional experience.
Despite having limited physical mobility in recent times, Santaolalla’s schedule continues to be hectic. This could be due to his relentless creative spirit.
He expresses that he dislikes remaining complacent within his familiar surroundings, instead finding excitement in tackling fresh endeavors. This mindset, he asserts, has consistently delivered favorable outcomes for him.
He also aims to keep a certain playful innocence while working on projects such as this one, he mentions. If the idea of composing the score for ‘Dracula’ makes you feel intimidated, it might not bode well. Instead, let’s approach it with excitement! Let’s explore and discover together. Regardless, the music will carry the same wistful tone that is characteristic of my work in general.
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2024-10-23 22:01