Post by davidhr on Oct 13, 2009 17:00:36 GMT -5
The big news this past week was obviously the release of EWIM, available so far only at Lara's concerts. In contrast to TLFM, EWIM has gotten glowing reviews from Lara's fans. My own review is included in another thread; the only comment to be made here is that being in its shadow, EWIM is in a way protected by TLFM. Some of the same criticisms could in fact apply - songs aren't original, most of the songs are old - but as these have already been aimed at TLFM, there seemed no point in repeating them, or perhaps they were outweighed by what people considered its strong points. Also TLFM was the album of the 'return', whereas EWIM had no expectations associated with it. In any event, it has gotten a glorious reception.
Typical is the (translated) comment from a critic, available at www.ozap.com/actu/lara-fabian-zenith-chanteuse-incroyable-spectacle-ennuyeux/305242
--------------------------------
Finally, if the concert is disappointing on several levels, the spectators will be able to console themselves with the album "Every Woman in Me", sold via merchandising. Composed from eleven English-speaking reprises, of which two were interpreted at the Zenith, the album has nothing to do with his French version. Piano voice, it illustrates what Lara Fabian does best: simplicity and her unbelievable voice.
------------------------------------------------------------
Unfortunately, it's not clear what it's immediate future will be. Nathalie on the official site finally responded to all the questions, and indicated that it will be released on Lara's website when the boutique eventually opens, although that has been delayed because of the tour. dvlp90, in the thread for EWIM, stated that Nathalie had responded to his question and said the boutique would be open in 'a couple of weeks' - however, she also said that a few weeks ago. The other website slated to offer it, larafabianweb.com, has been inert the past few weeks as Laetitia is away, and won't be back 'til next week. Meanwhile, many people have downloaded it unofficially, via youtube or elsewhere, so the tardiness in making it commercially available will affect its sales.
On an even broader front, will it be made available on iTunes or other legal download sites? Will the CD be released in any English speaking countries, or Brazil? When asked about a US release in an interview, Lara laughed, as if the whole idea was preposterous. Is this even an official Universal album, or simply Lara's home-made project, as would appear from the minimal packaging? And will its great reception from her fans change any of these calculations? Let's hope it encourages Lara and Universal to see it as a chance to reinvigorate her international/English career.
The other big story concerned Lara's concerts in Paris last Wednesday and Thursday. It was well-attended with an audience that included (on one day or another) Charles Aznavour (who fell asleep!), Laam, Line Renaud, Danièla Lumbrosso, Slimmy, Marianne James, J. L. Lemoine, Nana Mouskori, Luc Plamondon and Pascal Negre. The house was not full apparently because the seats on the side were not sold at Lara's request, as one could not see the holograms from there (the holograms were small in any event). Some videos are available on the web, and photos are available at:
www.flickr.com/photos/39286997@N05/sets/72157622416862309/
and at
www.larafabian.com/forumLara/viewtopic.php?f=3&t=9551&sid=d1e836d3754a5043ead8c7375d41e370&start=30
(towards the bottom of the page)
In general, the fans gave the shows excellent reviews, with the audience even more involved than it was in Brussels, but there were some dissenters. The primary reason for dissent seemed to revolve around the dislike of TLFM. One can see that in the translated review presented below. I hasten to add that it is provided here not because it is in anyway definitive (it is one person's opinion), or represents the majority view of those reporting in, but because it does touch on some points that true fans have made, even while enjoying the concert. [Note that the comment on EWIM quoted above comes at the end of this review]. For contrast, see the comments by Restck1989 in the thread for last week's 'news update'.
----------------------------------------------------------------------------------
LARA FABIAN AT THE ZENITH: INCREDIBLE BUT…BORING
At the end of last week, Lara Fabian was in passage to the Zenith of Paris to present her new show "All the women in me do their show" that she is taking on the roads of France until March 2010. It is the occasion for 'her angels' to rediscover their idol after four years of absence. This show allows Lara Fabian to pay homage to the women that marked her existence. The Album "Toutes les femmes in moi" released last May, got a comparatively poor reception from the critics, which did not prevent it from becoming a gold disc. What about the show?
LARA FABIAN, AT THE TOP OF HER VOICE
She confesses it herself, that criticism that she underwent since her debut in 2000 had modified her manner of singing. Lara Fabian assumes again her voice and does not keep it in anymore. At the top of her vocal possibilities, she no longer hesitates to use it to serve diverse reprises, through powerful songs such as "Alleluia", "Humana", "Wind Beneath my Wings" (reprise of Bette Midler) and an "Adagio" finale.
It is also necessary to say that Lara Fabian is not alone in this show. She invited through a holographic system used for the first time, certain women whose songs she reprises. If Nana Mouskouri, Maurane, Françoise Hardy, Catherine Lara and Véronique Sanson recorded sequences especially for the occasion, others are present through photos (Céline Dion) or videos of the era (Dalida and Edith Sparrow).
The experience is interesting for being original. But the procedure, not totally to the point, renders the product flat at best, fuzzy at worst. One can note anyway a technologically intriguing moment where Lara Fabian sings behind the piano of Véronique Sanson.
A RHYTHM THAT TAKES OFF ONLY RARELY
The mood is unfortunately coherent with the album "Toutes les femmes en moi. If one could expect it, the order of the songs is even more astonishing. The opening is done with "Mamy Blue", a surprising choice for an entry. Then, she carries on with 'Soleil Soleil' and 'Gottingen', with the familiar arrangements. The tone is given. Hope rises at the first notes of 'Babacar' of France Gall, but her version, drawling and less percussive than the original, leaves one hungry.
Fortunately, Lara Fabian offers after an hour of the show, an aside while interpreting a long medley of her songs. She brings in her hits "Pas sans toi", "Tout", "Je t'aime", "J'y crois encore", "Immortelle", "Humana" but comes up to some songs less well known but more energetic such as "Silence", "S'en aller" or "Alleluia". A moment of relaxation where the ambiance is (finally) charged. Perfectly at ease and more spontaneous, Lara Fabian plays with the room and makes it reply to her refrains.
The show also contains some funny moments. For those who have discovered it on the Internet, the moment most waited for was the medley of the cartoon theme songs. It arrives however after an hour and thirty minutes of the show, between two series of slow songs. Fortunately, it is not the only comical moment of the concert. The homograms of Lara Fabian and Maurane offer a sketch on accents before interpreting in a duet - with the real Lara this time - "Ca Casse", the best reprise of the last album.
A TRULY FAILED PRODUCTION
But that which truly weighs down the show, outside of the problems of rhythm, is the production. Lara Fabian is in a way an anti-Britney. For the concerts of Britney Spears, remove the lights, the dancers, the videos, the effects…what remains for you is a Britney who can't sing and dances roughly. Lara Fabian is exactly the opposite. If the voice is there, the production ruins the pleasure of a concert, which could be grandiose in piano-voice.
The lighting is dark throughout the concert, with violet or dark blue tones. Very often, she finds herself in the shadows of the stage, and all is lit up except her. The light becomes white at the end of the concert, from "Toutes les femmes en moi"…third song from the end.
A lighting certainly intended to highlight the two costumes of Lara Fabian but the result is…peculiar. If the orange combination of the first part can appear to be an audacious choice, even if aesthetically questionable, the dress of the second part of the show is a failure of taste pure and simple. The dress short and white, a 70s style, is coated with plastic on the bottom and on the sleeves, which acts to reflect the light. The costumer forgot that the sleeves were close to the microphone. If the face is lit up a little, the reflections of the sleeves sparkle like a thousand fires… Unfortunately, for the future audiences, this second costume will not be changed. In fact, certain sequences with the virtual guests have been created in this costume.
[Then the last paragraph as given above concerning EWIM…]
--------------------------------------------------------------------------
Unlike this reviewer, many of the fans have enjoyed the spectacle, as an entertainment in addition to a concert. Clearly this is not an intimate show, although in Lara's comments about the other singers, she touches people's hearts. Clearly also, Lara felt singing the songs would not be enough - she had to add novelty and humor; or perhaps she is bored with just performing concerts, and wants a little variety. Whether one appreciates this or not is obviously an individual taste. And it certainly helps if one likes TLFM.
Following her shows, TLFM jumped 27 places, now 54th in France.
In more concert news, Lara has apparently taken out an option for three more dates at the Paris Zenith, March 27-29, 2010. This is following her added dates in Belgium that month. It could imply several different things: she may be planning to video-tape the shows for a DVD; 'Un Regard Neuf' was recorded in March 2006 at the same locale. With this interpretation, the Belgian shows could be a back-up, as happened with the video during the "Nue" tour. Alternatively, if the new album "Le Secret" were to be released during the tour, as Lara indicated last week, the new shows could be used to promote it. Of the two, I would imagine the first possibility is the more likely, as it seems hard to imagine that they would not want to memorialize all the work Gerard has put into staging the current production.
In other news, Lara performed a lip-synch version of "Toutes les femmes en moi" at the Cap48 Belgian telethon last week; a video of the performance is on the web. [Almost all the performances were lip-synched.] She said very little during the telethon, which struck some people as odd (it was after all to raise money), but perhaps she wasn't asked to do more. Not shown on the broadcast was the fact that she tripped on the rug following her performance and fell; at the beginning of her interview following that she indicates that she is all right.
According to published notices, Lara is to embody Médée in the famous opera of Cherubini at a charity event; she will sing a piece from the opera and wear a chocolate-flavored dress. It is to raise money for children in distress, and will take place from October 14-18th in the 'Salon du Chocolat', one of the favorite places for chocolate lovers in Paris (hence probably one of Lara's favorite places). And in another charity benefit, Lara will apparently participate in an album to raise money to fight Aids (thanks to Ze Lamélie on Hezia's site).
Nathalie on the official site has indicated what is already apparent - that the next Farfallina is being delayed due to the time and energy needed to get the tour ready. But she says the wait will be worth it, with special surprises.
And the first part of the tour is now over…there is one more concert scheduled next week, and then another break for a month, when they will pick up in earnest. Until then, Lara can rest and enjoy the chocolate - but hopefully get the boutique open.
David
Typical is the (translated) comment from a critic, available at www.ozap.com/actu/lara-fabian-zenith-chanteuse-incroyable-spectacle-ennuyeux/305242
--------------------------------
Finally, if the concert is disappointing on several levels, the spectators will be able to console themselves with the album "Every Woman in Me", sold via merchandising. Composed from eleven English-speaking reprises, of which two were interpreted at the Zenith, the album has nothing to do with his French version. Piano voice, it illustrates what Lara Fabian does best: simplicity and her unbelievable voice.
------------------------------------------------------------
Unfortunately, it's not clear what it's immediate future will be. Nathalie on the official site finally responded to all the questions, and indicated that it will be released on Lara's website when the boutique eventually opens, although that has been delayed because of the tour. dvlp90, in the thread for EWIM, stated that Nathalie had responded to his question and said the boutique would be open in 'a couple of weeks' - however, she also said that a few weeks ago. The other website slated to offer it, larafabianweb.com, has been inert the past few weeks as Laetitia is away, and won't be back 'til next week. Meanwhile, many people have downloaded it unofficially, via youtube or elsewhere, so the tardiness in making it commercially available will affect its sales.
On an even broader front, will it be made available on iTunes or other legal download sites? Will the CD be released in any English speaking countries, or Brazil? When asked about a US release in an interview, Lara laughed, as if the whole idea was preposterous. Is this even an official Universal album, or simply Lara's home-made project, as would appear from the minimal packaging? And will its great reception from her fans change any of these calculations? Let's hope it encourages Lara and Universal to see it as a chance to reinvigorate her international/English career.
The other big story concerned Lara's concerts in Paris last Wednesday and Thursday. It was well-attended with an audience that included (on one day or another) Charles Aznavour (who fell asleep!), Laam, Line Renaud, Danièla Lumbrosso, Slimmy, Marianne James, J. L. Lemoine, Nana Mouskori, Luc Plamondon and Pascal Negre. The house was not full apparently because the seats on the side were not sold at Lara's request, as one could not see the holograms from there (the holograms were small in any event). Some videos are available on the web, and photos are available at:
www.flickr.com/photos/39286997@N05/sets/72157622416862309/
and at
www.larafabian.com/forumLara/viewtopic.php?f=3&t=9551&sid=d1e836d3754a5043ead8c7375d41e370&start=30
(towards the bottom of the page)
In general, the fans gave the shows excellent reviews, with the audience even more involved than it was in Brussels, but there were some dissenters. The primary reason for dissent seemed to revolve around the dislike of TLFM. One can see that in the translated review presented below. I hasten to add that it is provided here not because it is in anyway definitive (it is one person's opinion), or represents the majority view of those reporting in, but because it does touch on some points that true fans have made, even while enjoying the concert. [Note that the comment on EWIM quoted above comes at the end of this review]. For contrast, see the comments by Restck1989 in the thread for last week's 'news update'.
----------------------------------------------------------------------------------
LARA FABIAN AT THE ZENITH: INCREDIBLE BUT…BORING
At the end of last week, Lara Fabian was in passage to the Zenith of Paris to present her new show "All the women in me do their show" that she is taking on the roads of France until March 2010. It is the occasion for 'her angels' to rediscover their idol after four years of absence. This show allows Lara Fabian to pay homage to the women that marked her existence. The Album "Toutes les femmes in moi" released last May, got a comparatively poor reception from the critics, which did not prevent it from becoming a gold disc. What about the show?
LARA FABIAN, AT THE TOP OF HER VOICE
She confesses it herself, that criticism that she underwent since her debut in 2000 had modified her manner of singing. Lara Fabian assumes again her voice and does not keep it in anymore. At the top of her vocal possibilities, she no longer hesitates to use it to serve diverse reprises, through powerful songs such as "Alleluia", "Humana", "Wind Beneath my Wings" (reprise of Bette Midler) and an "Adagio" finale.
It is also necessary to say that Lara Fabian is not alone in this show. She invited through a holographic system used for the first time, certain women whose songs she reprises. If Nana Mouskouri, Maurane, Françoise Hardy, Catherine Lara and Véronique Sanson recorded sequences especially for the occasion, others are present through photos (Céline Dion) or videos of the era (Dalida and Edith Sparrow).
The experience is interesting for being original. But the procedure, not totally to the point, renders the product flat at best, fuzzy at worst. One can note anyway a technologically intriguing moment where Lara Fabian sings behind the piano of Véronique Sanson.
A RHYTHM THAT TAKES OFF ONLY RARELY
The mood is unfortunately coherent with the album "Toutes les femmes en moi. If one could expect it, the order of the songs is even more astonishing. The opening is done with "Mamy Blue", a surprising choice for an entry. Then, she carries on with 'Soleil Soleil' and 'Gottingen', with the familiar arrangements. The tone is given. Hope rises at the first notes of 'Babacar' of France Gall, but her version, drawling and less percussive than the original, leaves one hungry.
Fortunately, Lara Fabian offers after an hour of the show, an aside while interpreting a long medley of her songs. She brings in her hits "Pas sans toi", "Tout", "Je t'aime", "J'y crois encore", "Immortelle", "Humana" but comes up to some songs less well known but more energetic such as "Silence", "S'en aller" or "Alleluia". A moment of relaxation where the ambiance is (finally) charged. Perfectly at ease and more spontaneous, Lara Fabian plays with the room and makes it reply to her refrains.
The show also contains some funny moments. For those who have discovered it on the Internet, the moment most waited for was the medley of the cartoon theme songs. It arrives however after an hour and thirty minutes of the show, between two series of slow songs. Fortunately, it is not the only comical moment of the concert. The homograms of Lara Fabian and Maurane offer a sketch on accents before interpreting in a duet - with the real Lara this time - "Ca Casse", the best reprise of the last album.
A TRULY FAILED PRODUCTION
But that which truly weighs down the show, outside of the problems of rhythm, is the production. Lara Fabian is in a way an anti-Britney. For the concerts of Britney Spears, remove the lights, the dancers, the videos, the effects…what remains for you is a Britney who can't sing and dances roughly. Lara Fabian is exactly the opposite. If the voice is there, the production ruins the pleasure of a concert, which could be grandiose in piano-voice.
The lighting is dark throughout the concert, with violet or dark blue tones. Very often, she finds herself in the shadows of the stage, and all is lit up except her. The light becomes white at the end of the concert, from "Toutes les femmes en moi"…third song from the end.
A lighting certainly intended to highlight the two costumes of Lara Fabian but the result is…peculiar. If the orange combination of the first part can appear to be an audacious choice, even if aesthetically questionable, the dress of the second part of the show is a failure of taste pure and simple. The dress short and white, a 70s style, is coated with plastic on the bottom and on the sleeves, which acts to reflect the light. The costumer forgot that the sleeves were close to the microphone. If the face is lit up a little, the reflections of the sleeves sparkle like a thousand fires… Unfortunately, for the future audiences, this second costume will not be changed. In fact, certain sequences with the virtual guests have been created in this costume.
[Then the last paragraph as given above concerning EWIM…]
--------------------------------------------------------------------------
Unlike this reviewer, many of the fans have enjoyed the spectacle, as an entertainment in addition to a concert. Clearly this is not an intimate show, although in Lara's comments about the other singers, she touches people's hearts. Clearly also, Lara felt singing the songs would not be enough - she had to add novelty and humor; or perhaps she is bored with just performing concerts, and wants a little variety. Whether one appreciates this or not is obviously an individual taste. And it certainly helps if one likes TLFM.
Following her shows, TLFM jumped 27 places, now 54th in France.
In more concert news, Lara has apparently taken out an option for three more dates at the Paris Zenith, March 27-29, 2010. This is following her added dates in Belgium that month. It could imply several different things: she may be planning to video-tape the shows for a DVD; 'Un Regard Neuf' was recorded in March 2006 at the same locale. With this interpretation, the Belgian shows could be a back-up, as happened with the video during the "Nue" tour. Alternatively, if the new album "Le Secret" were to be released during the tour, as Lara indicated last week, the new shows could be used to promote it. Of the two, I would imagine the first possibility is the more likely, as it seems hard to imagine that they would not want to memorialize all the work Gerard has put into staging the current production.
In other news, Lara performed a lip-synch version of "Toutes les femmes en moi" at the Cap48 Belgian telethon last week; a video of the performance is on the web. [Almost all the performances were lip-synched.] She said very little during the telethon, which struck some people as odd (it was after all to raise money), but perhaps she wasn't asked to do more. Not shown on the broadcast was the fact that she tripped on the rug following her performance and fell; at the beginning of her interview following that she indicates that she is all right.
According to published notices, Lara is to embody Médée in the famous opera of Cherubini at a charity event; she will sing a piece from the opera and wear a chocolate-flavored dress. It is to raise money for children in distress, and will take place from October 14-18th in the 'Salon du Chocolat', one of the favorite places for chocolate lovers in Paris (hence probably one of Lara's favorite places). And in another charity benefit, Lara will apparently participate in an album to raise money to fight Aids (thanks to Ze Lamélie on Hezia's site).
Nathalie on the official site has indicated what is already apparent - that the next Farfallina is being delayed due to the time and energy needed to get the tour ready. But she says the wait will be worth it, with special surprises.
And the first part of the tour is now over…there is one more concert scheduled next week, and then another break for a month, when they will pick up in earnest. Until then, Lara can rest and enjoy the chocolate - but hopefully get the boutique open.
David
