Conducting Singin'

Among other notable achievements, the multitalented composer and arranger Nicholas Buc became the first conductor to conduct the scores for the first three Star Wars films in one day. Buc’s frequent appearances at concert halls and music venues have seen him conducting live film concerts such as Harry Potter and the Deathly Hallows, Home Alone, Close Encounters of the Third Kind, and more. On February 7, Buc will lead the Lyric Opera Orchestra in a special film with orchestra presentation of the iconic musical Singin’ in the Rain. Here, he shares reflections on the tricky tempi, nostalgic charm, and sheer joy contained in the film.

What makes Singin’ in the Rain resonate so strongly with audiences across generations?

People often forget that most of the songs from Singin’ in the Rain weren’t actually written for the film — they were sourced from the back catalog of producer Arthur Freed and composer Nachio Herb Brown. So in many ways, the film itself is taking a peek into the past… not only through the story, but through the music as well. This nostalgia is romanticized in the film, and so I think audiences have always connected with the history of old Hollywood and how we got there. The music gives such a great overview of that entire period that it feels like stepping back in time, and I think this will always make it appealing for generations to come. 

Having conducted Singin’ in the Rain many times, what’s your favorite moment in the score to bring to life, and why?

The whole “Broadway Melody” ballet sequence near the end of the film is such a stunning display of music and choreography, and a real tour-de-force for the orchestra. At nearly 15 minutes long, it covers an incredible variety of styles including some beautifully balletic moments, gritty jazz, and hilarious vaudeville. 

The "Singin’ in the Rain" sequence is legendary as well. What’s it like to conduct the music for such an unforgettable scene?

Oh, it’s an utter joy. You can really feel the orchestra melt when the famous woodwind riff begins, and I think it’s one of those pieces where the players relish the chance to lean into that unique way of playing.

What are the biggest challenges in syncing live music with on-screen action, particularly for a film as dynamic as this?

By far the trickiest thing is dealing with the rather piecemeal way these old films were recorded. So many of the tempi are inconsistent — much of that stemming from the recording practices of the time. Because of the very precise choreography and singing, there isn’t much wiggle room for the live orchestra, so we have to really work hard to match the original performances. It keeps us on our toes for sure!

You’ve conducted many iconic film concerts. How does Singin’ in the Rain compare?

There aren’t many live films that are so joyous from beginning to end like this one. I find there is always a special buzz from the audience whenever I conduct a performance of Singin’ in the Rain, and while part of that might come from the charming humor on screen, I think the real excitement comes from hearing this music live and feeling that sense of nostalgia. For the orchestra, that nostalgia also translates to a very particular musical style which they don’t often get to play. Many of the film concerts from the '70s onwards are written in the grand symphonic tradition (Star Wars, Back To The Future), but this film leans far more into the world of musical theater, with its influences from Gershwin and the like. That always creates its own special kind of magic. 

This is your Chicago debut with the Lyric Opera Orchestra. What excites you most about performing in this historic venue?

I feel like this is the perfect venue for a film like Singin’ in the Rain. The Lyric Opera House was opened in 1929, the exact same time period that Singin’ in the Rain is set, at the beginning of the sound era in Hollywood. There’s a beautiful confluence there that I think will make this performance extra special.