A man got in touch with me a while ago saying he liked my music that I wrote for Disney! I was thrilled someone noticed. He got in touch again and did an interview with me about my music for the opening of EuroDisney! Nice!
Two decades ago on Saturday the 11th of April 1992, The Grand Opening of Euro Disney was broadcast around the world. This live TV special introduced Disney’s new £2.2 billion resort to the general public and finally revealed many of its closely guarded secrets. @CafeFantasia recently got in contact with the show’s Music Director, Glen Roven, to write an exclusive interview for Euro Souvenirland.
In the closing credits of The Grand Opening of Euro Disney, you’re listed as the Music Director. For those of us that don’t know, could you explain the basics? What is a Music Director, and how does being one differ from being a Composer?
Titles like this are always a bit vague and are usually open to interpretation. I feel a Music Director is in charge of every aspect of the music of a show. A show like this has original music to be written, original musical numbers to be written, music to be picked, music to be orchestrated, arranged, recorded, conducted, rehearsed, delivered in the proper technical TV format. And I’m a bit of a control freak with these things, so I like to control and supervise everything! In fact, I even like to stick my nose where it doesn’t belong.
I wrote a great amount of musical numbers for a show called Happy 100th Birthday, Hollywood a while back (in 1987) and I made the costume designer show me his sketches! Of course I wouldn’t change a thing, but I liked to see how everything adds up to a final product. A specific answer to your question, as to how does it differ; the Musical Director would supervise the composer or even hire the composer, unless the composer is a big star like Alan Menken, where the Music Director would realise his vision.
How did you first get involved with The Grand Opening of Euro Disney? How did the opportunity come about to work on such a large project?
I got a phone call from Don Mischer, the Executive Producer. He used to hire me a lot, because I was known for being able to handle huge events, Presidential Inaugurations, Emmy shows, etc. Plus I did the same job for the Disney-MGM Studios Theme Park Grand Opening special in 1989. I also did the same job for the Grand Opening of Disney’s Animal Kingdom in 1998, but that was after. They all blend together a bit.
Did you get to visit Euro Disney during the project, or did you compose the music remotely in America?
I remember we had two trips. One as a survey where the park was hardly even completed but we got a tour of what was about to happen so we could get ideas and have the layout in our collective heads. And then we went again, about a month before the park opened to prep the show. It was a great job!
What was your initial impression of Euro Disney when you first visited the park? How did it feel to experience it before the general public?
Going to the parks before they are open is always an amazing experience. You have the entire theme park all… to… yourself! And you get to go on the rides over and over and over. And then the Imagineers ask you, “was it too fast, too slow?” And sometimes things simply don’t work and are completely revamped immediately. That was especially true when Eisner was running Disney. I remember when he saw a specific ride, didn’t like it, and they closed the ride till they re-jigged it. Riding the Kilimanjaro Safaris at the opening of Disney’s Animal Kingdom was amazing. I was able to do it ten times in a row!
For those of us who don’t know, which pieces of music in The Grand Opening of Euro Disney did you specifically compose?
I don’t really remember! But chances are, if it’s not a famous song, I wrote it!
Out of everything you composed for The Grand Opening of Euro Disney, which piece of music is your favourite and why?
Again, I don’t really remember. But I do remember creating a whole Western sequence, with lots of different traditional Cowboy songs interwoven, for the opening of Frontierland. I guess because I remember it, I probably liked it.
Could you talk a little bit about your process? Where do you start when you’re composing?
I usually hear things quickly in my head. And then it’s a matter of writing them down. I’ve never been one to get writer’s block, especially with a job I’m hired for. I think of myself as a craftsman. They need music, I write music!
Did you encounter any challenges while working on The Grand Opening of Euro Disney? What was the most difficult thing to accomplish?
Well, I remember we had Cher, The Four Tops and The Temptations on the show. I went out to Munich to record. They assured me there were good session musicians out there (drummers, bass players, pianists). However, when we got there, they were not up to our usual standard; they were in fact horrible! Anyway, I recorded the music with them, then we threw it all out! Then I flew out musicians from London and Hollywood and re-recorded everything. That was a challenge. I remember being on the phone with Don Mischer who couldn’t believe the first recordings were as bad as I said. So I help up the phone to the playback speakers. I could hear Don almost faint on the other end. Without a moment’s pause he said, “Trash ‘em. Come back. We’ll do it again!”
How did the decision to record with the Munich Philharmonic come about? Was it always the plan that a full orchestra would perform your music, or was it an idea that evolved?
We needed a big sound for that old fashioned “Disney” sound. And we were in Europe. I think someone at the studio suggestion the Munich Philharmonic. And they were great.
What’s your fondest memory of working on The Grand Opening of Euro Disney? What’s the one thing you’ll never forget?
I just loved getting a trip to France all paid for! I loved the small restaurant in Marne-la-Vallée that we ate at. I loved taking the RER A into Paris. I loved the details in Euro Disneyland. The artisans Disney found to paint the rides were amazing. I loved going to Munich. So many memories…
Out of all the rides and attractions at the Disney theme parks around the world, which one do you think has the best score and why?
That’s a hard one. Music is really such an integral part of the Disney Parks and their rides. I like the songs the best. I guess my absolutely favourite is it’s a small world! I know some people find that song annoying, but I find it astounding! Imagine being able to write a song that’s so damn memorable that it is annoying!!!! That song wasn’t written; it was dictated from God!
Do you find it frustrating that so much of the music composed for the Disney theme parks, such as yours for The Grand Opening of Euro Disney, is never released commercially?
Nah, it’s just a part of my job.
With 2012 marking the 20th Anniversary of Disneyland Paris, what’s the biggest change in music you’ve seen in the last 20 years?
It has to be how to incorporate electronic technology. 20 years ago the technology was so primitive compared to what we have now.
Looking back on your career in music, what has been your most memorable project and why?
That’s a tough one. I like to say the best is yet to come. But a few highlights: Conducting the First Inauguration of Bill Clinton on the steps of the Lincoln Monument. My first huge number I wrote for Liza Minnelli. Working with Julie Andrews, Whitney Houston, Patti LaBelle, Michael Jackson. Conducting Frank Sinatra and Sammy Davis, Jr.’s last concerts on TV. Having great classical artists like Daniel Okulitch and Talise Trevigne record my songs. Conducting my Violin Concerto at Carnegie Hall. Playing the piano at Carnegie Hall. Seeing all my songs published. Seeing all my translations published.
And looking ahead, can you tell us about any upcoming projects?
I just finished writing a new opera called ANDERSON’S SOLO. Hopefully that will get produced. I have two musicals hopefully headed to Broadway. I am running a small CD label now and we have amazing artists. Now that major classical labels are all tanking, all the biggest opera stars in the world are recording with little GPR Records. So I’m looking forward to recording with Patricia Racette, Stephanie Blythe, Charles Castronovo, Poulo Szott, Ramon Vargas, etc.
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