What is certain to be a huge Summer blockbuster of a movie is almost out of the starting gate. Benny Andersson has been at work with the team in Los Angeles putting the finishing touches to the sound mix of Mamma Mia! Here We Go Again that will be heard in cinemas all around the globe soon.
Benny told icethesite about the movie mix sessions: “It is such a joy to work together with people who are so skilled at what they are doing. Every single one of them. Totally concentrated on their separate working stations but always with a sharp eye on the whole. An amazing experience again, just like it was on the first film 10 years ago.”
Mamma Mia! Here We Go Again is both sequel and prequel to the original Mamma Mia! movie and stars Lily James (Young Donna), Amanda Seyfried (Sophie), Dominic Cooper (Sky), Andy Garcia (Señor Cienfuegos), Meryl Streep (Donna), Pierce Brosnan (Sam), Colin Firth (Harry), Christine Baranski (Tanya), Stellan Skarsgård (Bill), Julie Walters (Rosie), Cher (Ruby Sheridan), Jeremy Irvine (Young Sam), Celia Imrie, (Vice Chancellor), Hugh Skinner (Young Harry) and Josh Dylan (Young Bill). The director is Ol Parker.
Those close to the production have revealed that ABBA songs featured in the new movie include One Of Us, When I Kissed The Teacher, Angeleyes, Waterloo, Fernando, I’ve Been Waiting For You, Why Did It Have To Be Me?, Kisses Of Fire, and My Love, My Life among others.
The film which is distributed by Universal Pictures picks up the story ten years after the original film ends when Sophie learns all about how her mother Donna met her three ‘dads’.
The world premiere of Mamma Mia! Here We Go Again will be in London on 16 July. The film will officially open in most territories on 20 July.
CHESS is officially up and running again in London’s West End. The Benny Andersson, Tim Rice and Björn Ulvaeus musical has finished its previews at the home of the English National Opera and last night launched to the press. We had a chance to chat with some of the cast and creatives about their involvement in this epic revival.
Benny told us: “This is how Björn and I have always envisioned CHESS. A large and wonderful orchestra, a powerful choir and a great rock band form the backbone of the score. Then add in some great voices and performances from the principals, like we have here, and well, I will definitely be coming back to see it again.”
Sir Tim said that he was delighted by the ENO’s treatment of the show that was last in the West End over thirty years ago. “I think this production is magnificent. Truly spectacular and so well crafted and staged. It sounds glorious.”
Florence, the role first played by Elaine Paige, who was among the audience last night, is played by Cassidy Janson (who played Carole King in the West End version of Beautiful). She brings her character’s journey of passion and pain alive to great tear-jerking effect.
She told icethesite that she was loving every moment of performing in CHESS and that to be at The London Coliseum was a dream come true. “I already don’t want it to end,” she said.
Michael Ball has long sung the show stopping Anthem in his concert tours and has always wanted to perform the role of Anatoly. He said he is relishing this opportunity to sing with the 60 piece orchestra of the ENO…”and who wouldn’t?!” he said.
Cedric Neal is The Arbiter, keeping a masterful eye on proceedings at the World Chess Championships, and bringing a rich vocal twist to his numbers, squeezing in a few intricate runs here and there.
The role of Anatoly’s wife, Svetlana Sergievsky’s has been expanded from the London production of the 1980s and is performed superbly at The Coliseum by Alexandra Burke.
The part now includes a song new to London, imported from Chess på Svenska (the hit Swedish CHESS production). He Is A Man, He Is A Child helps establish Svetlana’s character and the emotional journey she finds herself on as Act Two begins.
Alexandra told us: “I’ll be honest, I didn’t know CHESS, the score or the show before the part came along. I agreed to the role when I learned of the credentials of the team behind this production, the fact it is the ENO, that it is here at The Coliseum and that Tim Rice, and Benny and Björn from ABBA had written the music.
Then when I knew who my fellow cast members were going to be and we started rehearsing this amazing music with the incredible orchestra, I absolutely knew I had made the right decision.”
Tim Howar plays Frederick Trumper, the troubled American chess player who vies for the world title with Anatoly in Act One. He is particularly sensational during Pity The Child, often dubbed ‘Pity The Singer’ due to its emotional complexity and wide musical range.
However, Tim said he was originally tried out for the role of The Arbiter. “When Benny and Björn saw the videos of my Arbiter performance, they suggested instead that the production had found its Freddie Trumper. “We need a rock guy,” they said.
“I am a huge CHESS fan and have been for years, even performing the show in an amateur dramatics society years ago back in Canada. At first I just wanted to be a part, any part of this London show if I could, but when I landed the role of the American, I knew that I could bring memories of certain episodes from my own past family history to the role and at the same time have a blast every night.”
Tim hit the headlines when he had to leave at the end of the first act of the first preview of CHESS last Thursday.
On hearing that his wife Jodie Oliver-Howar had gone into labour, he rushed to be by her side. Their son Hamish might have stolen his dad away from CHESS at the first preview but incredibly at just four days old, he was there to add his support on press night!
The entire creative team, from set and lighting designers, the phenomenal orchestra under the baton of John Rigby, the chorus and all the principals (special mention too for Philip Browne’s menacing Molokov) have breathed new life into CHESS.
In this guise, the story appears much clearer without obvious signposting and each number is given a fresh, thoughtful musical and theatrical treatment.
Benny, Tim and Björn each loved it and that really is high praise!
Benny Andersson has been in London this weekend on both CHESS and Mamma Mia! Here We Go Again duties but broke off from his busy schedule for a few words with icethesite.
Have you heard much of CHESS while you have been visiting the ENO?
Yes, I spent all day at the Coliseum yesterday and I have to say that from a musical and sound aspect, I am more than happy. To hear 50 or so musicians in a theatre playing your music so well is really something special.
I am hopefully going to see more of the actual show tomorrow when the whole cast is together but I am feeling very confident that the musical aspect will be wonderful. John Rigby is doing a fantastic job, as are the sound guys.
As well as CHESS, you are here doing work for Mamma Mia! Here We Go Again, what does that involve?
Yes, this trip is all about working on the score for the film. Anne Dudley has written some wonderful stuff. The final cinematic mix will fall to the studio in Los Angeles and I’ll go there in the first week of June. I have recorded the songs themselves and they are all mixed for the CD but the film music mix is what we are working on currently.
Björn has been talking about the avatars project and a TV show based around ABBA that’s in the works. Can you elaborate?
Yes, as part of the journey towards the live avatars concert project, we are also making a TV show to be produced by the BBC and NBC*.
Our sights are still firmly set on the big live production experience and lots of work is still ongoing with regard to making that as good as it can possibly be.
The stage designer Es Devlin is helping us creatively with that and her work is absolutely incredible, so it is very exciting.
My next task in the recording studio will be on that project.
Note: *Early versions of this article said ABC, an error which we are happy to correct.
CHESS was recently staged in Washington D.C. and there has been much talk of a Broadway return for the show…
The principals on that show were terrific and it was also very funny. We don’t know quite yet what we are planning with regards to taking the show back to Broadway but we are talking about it.
Will you and Björn will be attending the ENO CHESS press night at The Coliseum on 1 May in London?
We recently caught up with Görel Hanser and had the opportunity to chat about her incredible career and her approach to work and business.
Görel started working at the offices of Stikkan (Stig) Anderson’s publishing company Sweden Music and the record company Polar Music in September 1969. She worked her way from being Stig’s secretary to Vice President of Polar Music.
During the ABBA years she handled the contacts with the many labels around the world who released the group’s records. She also became ABBA’s personal manager, dealing with the press and accompanying them on their tours and promotional trips. In the process, she became a personal friend of the individual members as well.
When ABBA ceased working as a group, Görel continued working for Sweden Music and Polar but in 1987 she started her own company Music & Artist Service Görel Hanser.
She continues to work with Benny to this day, including handling the practicalities of Benny’s solo work, his work with Benny Anderssons Orkester and the Benny Andersson/Björn Ulvaeus musicals.
Can you tell us about how your office at Södra Brobänken 41 has changed over the years?
We originally moved into this building in 1992 as a base for Benny’s Mono Music label and had about 5 people here then, Benny, me and some finance and publishing staff.
We gradually grew in size, particularly when Benny and Björn’s musical Kristina från Duvemåla came along. The show brought with it a lot of work, not only for the run in Malmö, where Kristina had its world premiere but also later on in Stockholm, where the Cirkus theatre had to undergo a major refit in order to host the show.
When you are putting up a production that features 45 orchestra members, 50 to 60 people in the cast and a large number of people working backstage, there is a lot of organising involved and a lot of people to look after. It was hard work both for me and the office. Looking back on those days maybe I am glad that I didn’t know quite how tough it was going to be. It’s sometimes better not to know these things beforehand!
At the same time as we were putting on Kristina, we were also still running Mono Music, Benny had started Benny Anderssons Orkester and I had started my own company managing artists like Tommy Körberg and Helen Sjöholm.
Over time, we gathered good, competent, experienced people around us, and that helped us not only with Kristina through its Malmö, Gothenburg and Stockholm runs, but subsequently Chess på Svenska which ran at Cirkus for three seasons and Mamma Mia! for four.
During my time working with Stikkan Anderson, he instilled in me a sense that I could manage things and manage them well. He was like an encouraging school teacher, he would say “You can do this.” and “I trust you.” The faith he showed has given me a sense of self-belief which has been very valuable.
And while the set up here has changed considerably over the years, one thing most definitely hasn’t and that is that there has honestly never been a single boring day in this job.
Can you describe your typical daily work routine?
I cycle into the office every day, and of course the first thing I do is open my emails. That is if I haven’t already done that from home.
Recently there have been a lot of dealings with Deutsche Grammophon…they are requesting more promotion with Benny for his Piano album. In addition, ABBA as a group may be no more but ABBA’s legacy is still very much alive and takes up a lot of time. I speak to Mia Segolsson who runs Polar Music many times a week. Mia is responsible for the ABBA releases etc.
There are frequent big requests along the lines of ‘Can we do this with an ABBA song?’ down to very small requests. But whatever the demand might be, whether big or small, I try and give it my very best attention.
‘ABBA The Museum’ here in Stockholm and ‘The ABBA Exhibition’ on the South Bank in London have also required a lot of input.
It is important that I follow up on every single matter that crosses my desk, making sure everybody and everything is taken care of in a professional way.
Can you describe how your work differs now from what you were doing when ABBA were at their peak?
My work, when I started in this business, was mostly concentrated around ABBA. They released roughly one album a year and with those releases came a lot of work. Without technology to support us it was very different back then too.
Record company people would fly in from all over the world to collect the master tapes, and we would need to ensure that each individual territory got the correct versions of the covers, the tapes, the lyrics, the release details and so on.
We would also co-ordinate the schedule for the group regarding TV appearances, photo sessions, interviews etc. This was the big stuff but we would also be involved right down to the small things too and that was how we wanted it and how it worked best for us.
Back then, it was a world of telexes, fax machines, of magnetic punched cards (used on our very early computers), telegrams – I recall having to read out many messages on the phone to the telegram company – and of course piles and piles of letters.
Stikkan’s wife Gudrun was very good with new technology and helped push us forward back then, she was the one who introduced me to my very first fax machine.
I have enjoyed watching how technology has advanced over the years but in all honesty, I still think of myself as being essentially ‘analogue in a digital world’.
What would you say are particular standout moments from your career?
Dancing Queen hitting the number one spot on the Billboard Chart, the opening of Kristina från Duvemåla in Malmö, the release of Klinga mina klockor (Benny’s first solo album and the first Mono Music release) and recently a special highlight was winning my Swedish Grammy.
Benny and Björn’s diverse musical output has ensured that your career has encompassed so many different worlds (Broadway, West End, film, classical music, pop etc.) – do you find that dealing in these different circles requires a different approach from you?
I am the person that I am, which means that I hope to treat everyone I meet with respect regardless of whatever world or professional background they may come from. I am driven to do my best and whether I am arranging a concert, a theatre show, a tour or a record release, I hope that if you are working with me that you feel like you are being treated well.
Some people are very easy to deal with and some people are more challenging, of course. Sometimes it’s a matter of really listening to someone and working out what adjustments may be possible to move forward to everyone’s satisfaction.
How would you describe Benny?
Devoted, musical genius, warm-hearted.
How would you describe Björn?
Curious, masterful lyricist, entrepreneur.
And finally, what are you most looking forward to working on or seeing come to fruition in 2018?
The virtual ABBA project and the opening of Mamma Mia! Here We Go Again are two big things coming up but whatever comes my way, I look forward to maintaining a good working atmosphere around us all which encourages people to do their best work and to love it at the same time.
Many thanks to Görel for chatting with us and also to Carl Magnus Palm for the bio at the start of this article.
Thank you to all our followers on the various social media channels as well as here on the main site. As this was the year of ‘Piano’, Benny Andersson’s latest solo album, we hope you really enjoy this little something extra!
If you have picked up a copy of the Piano album by Benny Andersson, then you will see that the credits for engineering the recording lay with Linn Fijal, as well as a co-credit for recording and mixing alongside Benny.
Linn works at Benny’s Riksmixningsverket (RMV) Studio in Stockholm and icethesite caught up with her recently to find out more about her work.
How and when did you first start working at RMV Studios?
It was actually through a chance meeting with Benny’s son Ludvig at a mastering studio that I got in touch with the studio regarding a position. This was back in 2010. I applied, was interviewed and got the gig.
My early days were spent buying and constructing stuff, getting the mixing desk working, assisting more experienced engineers. These days, seven years later, I’m doing a whole lot more, far more responsible, managerial type work and scheduling duties as well as being a recording engineer, mixing engineer and sometimes producer as well.
One thing I don’t touch though is the budgets and invoicing, that’s definitely not my thing!
Are you having fun?
I love it here. I think it’s really nice. And now I have a lot more help, because if you have more than ten people in on a session, like an orchestra, that would mean a lot of running around unless you have some assistance.
Have you ever recorded just piano before?
Not a complete full length record, just the odd ballad here and there. I don’t do that much classical music and if I do it’s mostly about setting up strings.
RMV produces a lot of different kinds of music, from classical piano, through folk to rock, do you have to swap your mentality for each genre?
I can’t lose my rock head, that is always there but I have studied classical music too, so that is in my background. Ultimately though, a good song is a good song, a good melody is a good melody, and a good sound is a good sound, regardless of genre.
That in some ways is why Benny’s Piano album has been so enjoyable. I think if an engineer steeped in classical music had been at the desk, it would have been a different sounding record. Piano is very much a straight-up pop type recording technically. We didn’t try and replicate the sound of a concert hall, which is a more typical way to do this type of album.
Benny likes the sound to be quite wide and I like an open sound and we have produced something that is very true and real, whereas a lot of classical music can tend to sound a bit muddy and blurred to my ears.
We tried out lots of mics in order to hit on a sound that was right. Benny is ultimately in charge of the recording and he made the final call, which was to use really accurate microphones, the CM 402s by Jörgen Thuresson, and record in the brightest way possible. We didn’t want to muddy the sound in any way or have to modify the sound later by messing too much with EQ and compression.
The tuning is also really important for the sound and sustain of the piano, Jussi Karjalainen did a really good job making it sound clear, not all through ‘perfect tuning’, which makes it all sound more real.
The only tweaks we made affected the digital reverb and as a result it’s a really honest sound recording. You can actually hear on this recording what’s going on within the piano.
I’m getting lots of good feedback from the classical community about the recording, so that makes me happy.
What was the first you heard of with regards to Benny wanting to do a new solo album?
I had picked up some corridor chatter really, that perhaps Benny wanted to do something for himself. The first task I was involved in was trying out some pianos, so we visited the Royal College of Music here and listened to and recorded maybe six or seven different grand pianos. We also tried out Benny’s Yamaha in his office and the Steinway here before he settled on the Fazioli.
Once the decision was made about which instrument was the one, there wasn’t really a lot of planning for the recording, at least not on my behalf. He would call me up and say “I want to record…when can we do it?” and then it was a matter of fitting in the recordings between projects we were already committed to.
Setting up to record was a pretty simple affair, just Benny, me and a piano required.
There are 21 tracks on the album, did you get the impression that Benny had practised them all and knew which ones would make the cut before recording started?
I don’t think he practised that many. Very rarely he would say “I have actually practised this.” Mostly he would say, “I haven’t played this for 20 years!”
The selection was made on variety, the ones he liked most and also on how long the tracks were. I don’t think he knew when he started the project how long the record would be, that was decided later.
You have worked with Benny for some time now, on a variety of different musical styles, what’s that like?
Benny is a mastermind! He is in control of everything and has always been like that. He knows what he wants and there’s no compromising. He will say: “I want it this way,” and then I will do my best to make sure he gets what he wants. That’s nice for me because he is never shy of taking the important decisions.
RMV studio is a state of the art setup and I don’t imagine there are many compromises in terms of the gear you have to work with?
You’re right! And I’ve been lucky and thoroughly spoiled in this set up. That also means that the only thing that can create a bad recording here is me, it’s not like I can ever blame the gear or the budget. It’s a lot of pressure but I’m not complaining…it means that when I get a great sounding recording that I am really proud of, like the Piano album or Benny’s choir album Kärlekens tid, that I treated all this great gear right.
What’s next up for you?
I have a really exciting hardcore project mixing ‘Riot Girls’. They take band members playing rock and hardcore style music from the 1980s punk groups through to bands from today and assemble a group. They were here for a weekend recently and wrote and recorded music like it was nothing. All in a weekend, twelve songs were written and recorded. They were long days of course, twelve hour shifts and I was here with two assistants and two runners and it was so much work but also so much fun.
Then I have a jazz album to mix and a pop album too. A lot of mixing coming up.
Thanks for talking with icethesite Linn, it has been a real pleasure catching up with you.
In an interview just before ‘Piano’ was released, Benny says that he knew there was an audience for a stripped back piano only version of his music, thanks to feedback that he had read on icethesite. Enjoy!
The video appears on icethesite’s Facebook page and if you’re not following already, do give us a look!
How and when did the idea of producing a sheet music book to accompany the album come about?
Benny called me in the beginning of April 2017 and asked if I could transcribe some piano music for him. I did not know then that it would be a real piano book of the entire album.
What made it extra interesting was that he wanted everything written as he played it, with no chord symbols to make it “easier” to read. In this case he wanted an exact reproduction of what his hands were doing. Real ‘Beethoven-scores’, so to say, playable even if you have never heard the piece before.
How did you receive the tracks from Benny?
He sent them to me by mail and ftp.
Can you describe the transcription process, i.e. your method?
Firstly, I put the piece in my sequencer for easy access and for the possibility to loop sections. And then I started listening and test playing. Over and over repeatedly. When I began to understand what Benny was doing, I input the notes in my scoring software, hopefully as correctly and readable as possible.
Did the project differ from anything you have done before? If so, how?
I have never transcribed classical solo piano with this level of accuracy before. As it is a rather time-consuming process you don’t get the opportunity to do it very often.
How long did the transcriptions take to complete?
All in all, with editing, proofreading and layout, around three months. I got great help from Naomi Cook at Music Sales as it is very hard – close to impossible – to proofread your own work. Luckily there weren’t that many errors in the material, but there is an old saying that when you open a new book, fresh from the printers, the first thing your eyes are drawn to are any errors, so…touch wood!
Which track(s) proved most challenging and why?
I would say some of the Chess pieces (Ice: we see what you did there Göran!), like Mountain Duet and You and I primarily because they are rather complex musical pieces to begin with.
Did you enjoy the process? You told us at the studio that it was an almost “psychedelic” experience at points?
Haha, I was referring to the fact that the work process sharpened my ears to a level I did not think was possible. For example, I had to very carefully remember not to put my mobile phone near my work space, because if it rang, I would jump three metres in the air (and almost have a heart attack!). Seriously – a very scary experience!
And what I mean by “psychedelic” is that when I closed my eyes I could mentally zoom in on the different frequencies and envision a gigantic keyboard on which I could clearly see what Benny’s fingers were doing there at any given moment.
This may sound like total mumbo jumbo, but it is very hard to explain it any other way.
Towards the end of the work period I sometimes could be uncertain if plain, ordinary major triads were not actually major seventh chords (until I realised that my ears had become so sharp that I started to hear overtones as chord notes). Luckily this has gone away now!
All in all, I must say that I enjoyed the work very much and that I learned an enormous amount from it. Also, it has been a great opportunity to really immerse in these beautiful melodies.
In addition, it gave me an even greater respect for Benny as a piano player – his pieces are quite a challenge for any pianist in both the technical and musical sense but also very rewarding. Well worth a try!
Göran, thanks so much for this interview, and as we say in English, it’s in the bag!