Post by davidhr on Apr 23, 2013 8:14:32 GMT -5
Here are some later reviews, including my own. Please feel free to add yours...
1)Here is my review: I’ll provide it in the format of ‘bullet points’
**The album is a masterpiece, IMHO. Beautiful yet at the same time surprising songs, quite varied in tempo and strength; amazing singing, both soft and forecful, ocasionally reaching to great heights. Intense lyrics, of the type that you don’t find on most songs…All that one could have hoped for from Lara, in fact probably more than one could have expected. In retrospect, she was born to make this album. Will be very hard to top it!
**Very high musical intelligence throughout, from the multi-layered instrumentation to the choirs, even to the cacaphonous sounds interspersed throughout. Everything seems to have been done with professionalism and imagination.
**Despite the variety, her most cohesive album yet, held together by the overall lyric theme and the wonderful musical interludes between each song. The interludes mean that the album never lets you go, from the beginning of each disc to its end – there’s never a break to ‘recover’. You are therefore ‘immersed in her world’, as several of the TV hosts have said.
**With the interludes as the ‘substrate’ or underlying matrix, the songs emerge from the matrix, and then sink back down into it, awaiting the next song’s emergence. This is helped on by the endings of some songs, that marge into the interludes, which then lead gracefully to the next song. Pretty seamless, despite the great variety of songs and interludes. So effective that when one hears the songs by themselves (outside of ‘Deux ils, deux elles’) played on Tv/radio shows, they seem somehow ‘out of place’.
**For the execution of this approach, one tips one’s hat to Manu Pitois who composed and arranged them. Not clear whose idea the whole approach was, but a stroke of genius.
**I have not heard any complaints about Lara’s ‘power vocals’; nevertheless, they are there in force, but as part of an overall scheme of the album. Perhaps what the critics objected to was that at times they may have seemed to be primarily ‘showing off’ her vocal power (not that there really is anything wrong with that). But here they are clearly in the service of the song and the lyrics, and are surrounded by quieter and sometimes even ragged singing – in other words, in proper proportion to everything else, fitting in with the scope and serious theme of the album.
**And the theme is serious – as Lara has said, it is about the problems one encounters in life, and the solution, to find the peace and joy that lies inside of ourselves. So, again as she has said, one has to expose the ‘secret’ wrongs that are done to people, and then provide the ‘secret’ solution, getting in touch with the ‘secret’ point of our inner being.
**One complaint has been that Lara’s singing sometimes obscures the words. This is not a universal opinion, as many people did not find that, but for those who did, it is not a new issue. Even though she writes the lyrics (or perhaps because of it), Lara has always held the music in higher regard, so she will ‘mal-form’ the words to maintain the musical theme and its rhythms. This then leads to twisting syllables, a word may be broken in two to keep the melody flowing. . The solution is to write simpler words, but Lara wants it both ways – to keep the complex thoughts and yet maintain the musicality.
**Another comment has been that there is no song that ‘stands out’, like ‘Je t’aime’, or ‘Adagio’. Part of that may be because it’s harder to stand out when all the other songs are of such high quality – as was the case with her album ‘Nue’. Also, considering again the unity of this whole project, standing out might well be ‘out of place’. It may well be only in retrospect that one will determine which songs have lived bigger lives.
**My personal favorite, if I have to have one, is ‘Putain de grand amour’, for its musical sophistication, build-up and singing, but to me every one of them is worthwhile, and I wouldn’t even think of skipping any (that would seem like sacrilege ☺ ).
**Lara has said that this album comes from her entire musical history – all the diverse styles she has liked in her life have contributed, hence the great variety. Since 3/4 of the compositions come from pre-existing songs of Janey Clewer, she, too, must have an affinity for the different musical styles.
**One would have thought that the divine piano playing would have been by Giora Linenberg, who we know performs so exquisitely, who Lara praises so enthusiastically, and who wrote several of the songs. But no, it is Janey Clewer primarily, with Manu Pitois secondarily, and Flavian Compagnon on two songs. Even the songs that Giora wrote, he did not play the piano on. I wonder how that was decided…
**Lara has said the different songs are like different chapters linked together with a common theme. What else does that sound like…oh, of course, the Mademoiselle Zhivago movie! It may be that the whole idea for this ‘continuity’, with the musical interludes’, can be traced back to the movie, in which ‘Ascolta la voce’ was supposed to play that role. Ironically, the version of the movie that was released on the Internet didn’t have it! Perhaps the DVD will…
**The movie probably played another role, in that with songs like ‘Amourexique’ and ‘Putain de grande amour’, and Lara’s singing on ‘Je t’appelle’, she has clearly decided to ‘let it all hang out’ [one could say the ‘Gala’ semi-nude photos also fall in that category]. Lara has said the making of the movie forced her to go beyond all her bounds, in fact further than she thought she was capable of going. There is probably then a direct connection with her willingness now to exceed limits in all areas of her life, music included.
**And in fact the whole component of showing the harshness of existence, as she talked about in the ChartsinFrance interview, mimics Badoev’s exact comments about the film; however, Lara includes the solution, getting in touch with one’s center, which is not included in the movie. Perhaps that’s why Lara said it lacked balance.
**The slow soft songs are made much more meaningful by the lyrics, which often express pain (‘Je reve d’une etoile’ and ‘Mon desir’ being notable exceptions). In fact, one has to say that Lara certainly has a lot of distress, and her spiritual turn inward for the solution is an attempt to alleviate it. This is a particularly Buddhist approach – All life is suffering, and the ‘eight-fold’ path including meditation is the way to relieve it – but it is shared in one way or another by all major religions. While Lara’s previous albums seem concerned with finding Love, this one seems to want to find ‘Joyful equanimity’ – it is thus much more a spiritual album than any of her others. That may also have helped in quieting critics – much easier to criticize the search for romance than for salvation.
**The album is a ‘9’ Production, which means that it was not done under the auspices of any major record company. This has allowed her to do anything she wanted, and that may be responsible for a good portion of its uniqueness, creativity and strength. She should keep it that way, or if she does sign with someone, make sure she has the same amount of freedom that went into this 2 Disc set. While it has been publicized that Warner Bros. is distributing it, that is true only in France; in Belgium, Luxembourg and Switzerland, it is still Universal.
**As to how commercial this ultimately will be: currently it is at or near the top of the charts in France and Belgium. This has been driven by (1) Lara’s fans buying her first new French album in seven years; (2) Lara’s ubiquitous appearances on French TV and radio, and in the press; (3) the topicality of ‘Deux ils, deux ells; and (4) the great reviews the album has gotten. All of these factors will diminish with time, probably within a month. Whether the album will then have legs, given the complex nature of the music and the lyrics, probably depends on whether there are other standout songs that will maintain the public’s attention. That is not so clear; although there are many wonderful songs, in this case the whole is greater than the sum of its individual parts.
**Nevertheless, with this album, and all her public appearances, there can be no denying that she has returned as a major musical force in French music, perhaps THE major one, if quality is the issue. Congratulations to Lara – she seems to have blasted her way out of obscurity in the Francophile world, the best way – with an album so good even her detractors are silenced.
David
2)http://anonimuzz.hubpages.com/hub/Lara-Fabians-Le-Secret-Review-of-an-Unexpected-Musical-Trip
Lara Fabian Releases "Le Secret" - Review of An Unexpected Musical Trip
Lara Fabian's new album Le Secret is a musical tour de force in ways that one could not have possibly anticipated from this artist just by listening to her previous works. In a period where she strongly needed to find a way to reconquer the francophone market, after the cold reception of her previous album of covers Toutes Les Femmes En Moi, in 2009, Le Secret appears as an absolute miracle to all of those who spent the last eight years patiently waiting to listen to a new album of French originals from Fabian. This is an album that will permanently redefine this artist before her audience.
With notable contributions from Janey Clewer, Giora Linenberg and Flavien Compagnon in the composition of the songs, as well as from musicians such as Bruce Gaitsch and Manu Pitois, all the lyrics are, nonetheless, penned by Lara Fabian herself. She provides the words to 17 different tracks, split between two CDs and interspersed with musical interludes that help create a fluid musical journey from the beginning to the end.
The album opens and closes with the same dry sound of a heartbeat, but with different speeds. The opening is fast and displays an urgency to tell the story that unfolds throughout the album; the ending is slow and gently fades out, as the secret is no longer one and the music can finally rest (but should not, because the album is worth multiple listens).
According to Lara Fabian, le secret, the secret, is that of finding true happiness within and not in anything external to the self. However, before reaching that state of freedom and detachment from the temptations of the outside world, one might have to face several challenges and each one of them, each of those subsecrets, has its own song devoted to it. The somber title song, "Le Secret", opens the album talking about incestuous rape and, from then on, there is everything, including betrayal, depression, loneliness, finding and losing love, homosexuality and addictions, even to technology.
Granted, if you don't understand French, you will hardly understand anything about this album, except for the grand last song, "I Am A-WA", which is sung in English. If you do understand French, you will still hardly understand everything about this album without resorting to the lyrics booklet, because Lara Fabian's diction in her medium and high range, for the most part, is subpar. However, consider her impressive voice just like another instrument and you are in for a treat all the way.
The instrumentation is truly grandiose and original, with epic orchestras combined with modern electronic sounds and even hints of beatbox ("Danse", "Un Ange Est Tombé"), elegant twists and turns with celtic undertones ("Kalpataru", "L'enfant Du Gwenwed"), a self-duet with a voice from a grainy vinyl juxtaposed with a whispery modern voice ("Ce Qu'il Reste...") , and even what sounds like a sample of the opera Carmen, in one of the most surprising, vocally explosive and all-around fun songs of the album, "Putain De Grand Amour". Emotionally tense ballads such as "Mirage" are also some of the highlights. Even the weakest song of the bunch, "Deux Ils Deux Elles" - the official first single, supporting homosexuality and love as a universal, not just heterosexual, truth -, is pleasant enough to fit in without bothering.
The voice feels limitless and, sometimes, almost hard to believe, in the best way possible, because of the impressive ways in which it approaches certain heights and lengths. It would be wrong to say that this is the Lara Fabian of the 90's, though. This is a much better singer, with a larger technical arsenal and far more artistic wisdom. It is worth noting that a great job was made in the production of the album, keeping the sound of her voice natural and well blended with the instrumentation that backs her. A gritty quality that Fabian intentionally adds to her voice on occasion (notably, in "La Vie Est Là") also helps build this organic sound. One of the flaws of Mademoiselle Zhivago, Lara Fabian's previous musical release, commercialized mostly in Eastern Europe, was, precisely, overproduction, with a certain use of echoes and reverbs that rendered Lara Fabian's vocal tracks somewhat artificial, as good as they sounded.
Le Secret is, undoubtedly, Lara Fabian's best album of her career, one that redefines her as a truly inventive craftswoman that can go beyond the typical boundaries of the adult contemporary universe of her music, something she had never accomplished as completely in the past.
After the release of the album in April 15, with two live showcases on the same day in the Théâtre de Paris, an international concert tour follows, with stops, among others, in Belgium, France, Switzerland, Canada, Ukraine, Moscow's Kremlin Palace in Russia and, especially, the famous Carnegie Hall, in New York, USA, in December 27, 2013.
3) "The Secret" by Lara Fabian, an absolutely sublime album (such as pictures of "Gala")
Edited on 18-04-2013 at 13h06
By Julien Chadeyron
Observer culture, society
Two days after the release of her album "Le Secret", we find Lara Fabian in her natural state in "Gala". The singer "finally takes to her body." She stresses that "to sing well, it's not a secret, you must feel good about yourself." For our contributor Julien Chadeyron, listening to the songs repeatedly it is vocally successful.
Finally, here it is. The new album Lara Fabian is available from Monday, April 15. "The Secret" (guarded) has finally lifted the veil on its 17 titles. Since 2005, her album "9", the singer had not released an album of "original" songs. With her new album, the winning return is assured. It is already the third best selling album on iTunes. Monday night, she offered a stunning showcase, full of emotion, which alone has ... secret.
You may well make all the accusations you want, one thing is sure, few French singers (not to say none) would come to her ankle vocally speaking. So I dove with pleasure into this new album. And the least we can say is that I find it hard to get rid of it: I listened repeatedly.
I do not know where to start as the whole album is a gem. Each song breathes love, peace. It is difficult to explain how her voice, sometimes powerful, sometimes gentle, went through me.
There is of course the title in favor of gay marriage. "Deux ils, deux elles"
will probably remain the emblematic song of this album. Beyond the fact that the title could not be more topical, it is really very nice and pleasant to listen to. And given the animosity of the current debate, a little sweetness, poetry and tolerance does not hurt. A title that is not without echo "La Difference," another song published in 1997. With an extremely slick clip, as could have done by Mylène Farmer, we can say that the mission is successful comeback.
But the album is not just for this purpose. I also had several ‘coup de coeurs’. My favorite (and I'm not tired of it) is undoubtedly "Putain le Grand Amour." With sounds mid-lyric, half-folk, half-Carmen, Lara demonstrates in this title all the beauty of her voice. I love it.
Other title absolutely sublime: "La Vie est La. It draw tears to your. The great Lara. Emotions guaranteed.
"Je reve d’une etoile", beyond the emotion conveyed, has an almost heavenly almost divine dimension, ... Let yourself go. "Que c’est reste" will offer another trip back in time. Against the sizzling backdrop, and in a spirit of lyrical musical nostalgia, let it invade you.
Other beautiful songs, "Je t’appelle", "Danse" and "Un ange est tombe" - so powerful - "Amourexique", "Mirage" and "Que j’etais belle" - so touching. For the rest, "Kalpataru" is amazing, "C’est la lune" mesmerizing. And finally "Mon desir", "L’enfant de Gwenved" and "I Am A-WA" (Lara's favorite) complete the dignity and beauty in this album.
The set is very linked with the breadcrumb the famous "secret." That happiness, that of love. The whole album is a message of love. Love for others and especially self-love. A very personal album, which gives it no doubt that emotional strength. Which signals the return of Lara Fabian.
The only downside of the album is that often given the voice, you do not understand "everything" she sings ... But it's so beautiful.
I did not merely listen to the album, because I also visited the showcase. I must admit: the live dimension gives both more spiritual and humaneness to her voice. Thus, before a captivated audience, applause and honors, Lara Fabian presented the new album. This is probably the best vocal performance I was able to attend. Bravo.
PS: Lara, do not listen, Photoshop or not, the photos appeared in "Gala" are sublime.
1)Here is my review: I’ll provide it in the format of ‘bullet points’
**The album is a masterpiece, IMHO. Beautiful yet at the same time surprising songs, quite varied in tempo and strength; amazing singing, both soft and forecful, ocasionally reaching to great heights. Intense lyrics, of the type that you don’t find on most songs…All that one could have hoped for from Lara, in fact probably more than one could have expected. In retrospect, she was born to make this album. Will be very hard to top it!
**Very high musical intelligence throughout, from the multi-layered instrumentation to the choirs, even to the cacaphonous sounds interspersed throughout. Everything seems to have been done with professionalism and imagination.
**Despite the variety, her most cohesive album yet, held together by the overall lyric theme and the wonderful musical interludes between each song. The interludes mean that the album never lets you go, from the beginning of each disc to its end – there’s never a break to ‘recover’. You are therefore ‘immersed in her world’, as several of the TV hosts have said.
**With the interludes as the ‘substrate’ or underlying matrix, the songs emerge from the matrix, and then sink back down into it, awaiting the next song’s emergence. This is helped on by the endings of some songs, that marge into the interludes, which then lead gracefully to the next song. Pretty seamless, despite the great variety of songs and interludes. So effective that when one hears the songs by themselves (outside of ‘Deux ils, deux elles’) played on Tv/radio shows, they seem somehow ‘out of place’.
**For the execution of this approach, one tips one’s hat to Manu Pitois who composed and arranged them. Not clear whose idea the whole approach was, but a stroke of genius.
**I have not heard any complaints about Lara’s ‘power vocals’; nevertheless, they are there in force, but as part of an overall scheme of the album. Perhaps what the critics objected to was that at times they may have seemed to be primarily ‘showing off’ her vocal power (not that there really is anything wrong with that). But here they are clearly in the service of the song and the lyrics, and are surrounded by quieter and sometimes even ragged singing – in other words, in proper proportion to everything else, fitting in with the scope and serious theme of the album.
**And the theme is serious – as Lara has said, it is about the problems one encounters in life, and the solution, to find the peace and joy that lies inside of ourselves. So, again as she has said, one has to expose the ‘secret’ wrongs that are done to people, and then provide the ‘secret’ solution, getting in touch with the ‘secret’ point of our inner being.
**One complaint has been that Lara’s singing sometimes obscures the words. This is not a universal opinion, as many people did not find that, but for those who did, it is not a new issue. Even though she writes the lyrics (or perhaps because of it), Lara has always held the music in higher regard, so she will ‘mal-form’ the words to maintain the musical theme and its rhythms. This then leads to twisting syllables, a word may be broken in two to keep the melody flowing. . The solution is to write simpler words, but Lara wants it both ways – to keep the complex thoughts and yet maintain the musicality.
**Another comment has been that there is no song that ‘stands out’, like ‘Je t’aime’, or ‘Adagio’. Part of that may be because it’s harder to stand out when all the other songs are of such high quality – as was the case with her album ‘Nue’. Also, considering again the unity of this whole project, standing out might well be ‘out of place’. It may well be only in retrospect that one will determine which songs have lived bigger lives.
**My personal favorite, if I have to have one, is ‘Putain de grand amour’, for its musical sophistication, build-up and singing, but to me every one of them is worthwhile, and I wouldn’t even think of skipping any (that would seem like sacrilege ☺ ).
**Lara has said that this album comes from her entire musical history – all the diverse styles she has liked in her life have contributed, hence the great variety. Since 3/4 of the compositions come from pre-existing songs of Janey Clewer, she, too, must have an affinity for the different musical styles.
**One would have thought that the divine piano playing would have been by Giora Linenberg, who we know performs so exquisitely, who Lara praises so enthusiastically, and who wrote several of the songs. But no, it is Janey Clewer primarily, with Manu Pitois secondarily, and Flavian Compagnon on two songs. Even the songs that Giora wrote, he did not play the piano on. I wonder how that was decided…
**Lara has said the different songs are like different chapters linked together with a common theme. What else does that sound like…oh, of course, the Mademoiselle Zhivago movie! It may be that the whole idea for this ‘continuity’, with the musical interludes’, can be traced back to the movie, in which ‘Ascolta la voce’ was supposed to play that role. Ironically, the version of the movie that was released on the Internet didn’t have it! Perhaps the DVD will…
**The movie probably played another role, in that with songs like ‘Amourexique’ and ‘Putain de grande amour’, and Lara’s singing on ‘Je t’appelle’, she has clearly decided to ‘let it all hang out’ [one could say the ‘Gala’ semi-nude photos also fall in that category]. Lara has said the making of the movie forced her to go beyond all her bounds, in fact further than she thought she was capable of going. There is probably then a direct connection with her willingness now to exceed limits in all areas of her life, music included.
**And in fact the whole component of showing the harshness of existence, as she talked about in the ChartsinFrance interview, mimics Badoev’s exact comments about the film; however, Lara includes the solution, getting in touch with one’s center, which is not included in the movie. Perhaps that’s why Lara said it lacked balance.
**The slow soft songs are made much more meaningful by the lyrics, which often express pain (‘Je reve d’une etoile’ and ‘Mon desir’ being notable exceptions). In fact, one has to say that Lara certainly has a lot of distress, and her spiritual turn inward for the solution is an attempt to alleviate it. This is a particularly Buddhist approach – All life is suffering, and the ‘eight-fold’ path including meditation is the way to relieve it – but it is shared in one way or another by all major religions. While Lara’s previous albums seem concerned with finding Love, this one seems to want to find ‘Joyful equanimity’ – it is thus much more a spiritual album than any of her others. That may also have helped in quieting critics – much easier to criticize the search for romance than for salvation.
**The album is a ‘9’ Production, which means that it was not done under the auspices of any major record company. This has allowed her to do anything she wanted, and that may be responsible for a good portion of its uniqueness, creativity and strength. She should keep it that way, or if she does sign with someone, make sure she has the same amount of freedom that went into this 2 Disc set. While it has been publicized that Warner Bros. is distributing it, that is true only in France; in Belgium, Luxembourg and Switzerland, it is still Universal.
**As to how commercial this ultimately will be: currently it is at or near the top of the charts in France and Belgium. This has been driven by (1) Lara’s fans buying her first new French album in seven years; (2) Lara’s ubiquitous appearances on French TV and radio, and in the press; (3) the topicality of ‘Deux ils, deux ells; and (4) the great reviews the album has gotten. All of these factors will diminish with time, probably within a month. Whether the album will then have legs, given the complex nature of the music and the lyrics, probably depends on whether there are other standout songs that will maintain the public’s attention. That is not so clear; although there are many wonderful songs, in this case the whole is greater than the sum of its individual parts.
**Nevertheless, with this album, and all her public appearances, there can be no denying that she has returned as a major musical force in French music, perhaps THE major one, if quality is the issue. Congratulations to Lara – she seems to have blasted her way out of obscurity in the Francophile world, the best way – with an album so good even her detractors are silenced.
David
2)http://anonimuzz.hubpages.com/hub/Lara-Fabians-Le-Secret-Review-of-an-Unexpected-Musical-Trip
Lara Fabian Releases "Le Secret" - Review of An Unexpected Musical Trip
Lara Fabian's new album Le Secret is a musical tour de force in ways that one could not have possibly anticipated from this artist just by listening to her previous works. In a period where she strongly needed to find a way to reconquer the francophone market, after the cold reception of her previous album of covers Toutes Les Femmes En Moi, in 2009, Le Secret appears as an absolute miracle to all of those who spent the last eight years patiently waiting to listen to a new album of French originals from Fabian. This is an album that will permanently redefine this artist before her audience.
With notable contributions from Janey Clewer, Giora Linenberg and Flavien Compagnon in the composition of the songs, as well as from musicians such as Bruce Gaitsch and Manu Pitois, all the lyrics are, nonetheless, penned by Lara Fabian herself. She provides the words to 17 different tracks, split between two CDs and interspersed with musical interludes that help create a fluid musical journey from the beginning to the end.
The album opens and closes with the same dry sound of a heartbeat, but with different speeds. The opening is fast and displays an urgency to tell the story that unfolds throughout the album; the ending is slow and gently fades out, as the secret is no longer one and the music can finally rest (but should not, because the album is worth multiple listens).
According to Lara Fabian, le secret, the secret, is that of finding true happiness within and not in anything external to the self. However, before reaching that state of freedom and detachment from the temptations of the outside world, one might have to face several challenges and each one of them, each of those subsecrets, has its own song devoted to it. The somber title song, "Le Secret", opens the album talking about incestuous rape and, from then on, there is everything, including betrayal, depression, loneliness, finding and losing love, homosexuality and addictions, even to technology.
Granted, if you don't understand French, you will hardly understand anything about this album, except for the grand last song, "I Am A-WA", which is sung in English. If you do understand French, you will still hardly understand everything about this album without resorting to the lyrics booklet, because Lara Fabian's diction in her medium and high range, for the most part, is subpar. However, consider her impressive voice just like another instrument and you are in for a treat all the way.
The instrumentation is truly grandiose and original, with epic orchestras combined with modern electronic sounds and even hints of beatbox ("Danse", "Un Ange Est Tombé"), elegant twists and turns with celtic undertones ("Kalpataru", "L'enfant Du Gwenwed"), a self-duet with a voice from a grainy vinyl juxtaposed with a whispery modern voice ("Ce Qu'il Reste...") , and even what sounds like a sample of the opera Carmen, in one of the most surprising, vocally explosive and all-around fun songs of the album, "Putain De Grand Amour". Emotionally tense ballads such as "Mirage" are also some of the highlights. Even the weakest song of the bunch, "Deux Ils Deux Elles" - the official first single, supporting homosexuality and love as a universal, not just heterosexual, truth -, is pleasant enough to fit in without bothering.
The voice feels limitless and, sometimes, almost hard to believe, in the best way possible, because of the impressive ways in which it approaches certain heights and lengths. It would be wrong to say that this is the Lara Fabian of the 90's, though. This is a much better singer, with a larger technical arsenal and far more artistic wisdom. It is worth noting that a great job was made in the production of the album, keeping the sound of her voice natural and well blended with the instrumentation that backs her. A gritty quality that Fabian intentionally adds to her voice on occasion (notably, in "La Vie Est Là") also helps build this organic sound. One of the flaws of Mademoiselle Zhivago, Lara Fabian's previous musical release, commercialized mostly in Eastern Europe, was, precisely, overproduction, with a certain use of echoes and reverbs that rendered Lara Fabian's vocal tracks somewhat artificial, as good as they sounded.
Le Secret is, undoubtedly, Lara Fabian's best album of her career, one that redefines her as a truly inventive craftswoman that can go beyond the typical boundaries of the adult contemporary universe of her music, something she had never accomplished as completely in the past.
After the release of the album in April 15, with two live showcases on the same day in the Théâtre de Paris, an international concert tour follows, with stops, among others, in Belgium, France, Switzerland, Canada, Ukraine, Moscow's Kremlin Palace in Russia and, especially, the famous Carnegie Hall, in New York, USA, in December 27, 2013.
3) "The Secret" by Lara Fabian, an absolutely sublime album (such as pictures of "Gala")
Edited on 18-04-2013 at 13h06
By Julien Chadeyron
Observer culture, society
Two days after the release of her album "Le Secret", we find Lara Fabian in her natural state in "Gala". The singer "finally takes to her body." She stresses that "to sing well, it's not a secret, you must feel good about yourself." For our contributor Julien Chadeyron, listening to the songs repeatedly it is vocally successful.
Finally, here it is. The new album Lara Fabian is available from Monday, April 15. "The Secret" (guarded) has finally lifted the veil on its 17 titles. Since 2005, her album "9", the singer had not released an album of "original" songs. With her new album, the winning return is assured. It is already the third best selling album on iTunes. Monday night, she offered a stunning showcase, full of emotion, which alone has ... secret.
You may well make all the accusations you want, one thing is sure, few French singers (not to say none) would come to her ankle vocally speaking. So I dove with pleasure into this new album. And the least we can say is that I find it hard to get rid of it: I listened repeatedly.
I do not know where to start as the whole album is a gem. Each song breathes love, peace. It is difficult to explain how her voice, sometimes powerful, sometimes gentle, went through me.
There is of course the title in favor of gay marriage. "Deux ils, deux elles"
will probably remain the emblematic song of this album. Beyond the fact that the title could not be more topical, it is really very nice and pleasant to listen to. And given the animosity of the current debate, a little sweetness, poetry and tolerance does not hurt. A title that is not without echo "La Difference," another song published in 1997. With an extremely slick clip, as could have done by Mylène Farmer, we can say that the mission is successful comeback.
But the album is not just for this purpose. I also had several ‘coup de coeurs’. My favorite (and I'm not tired of it) is undoubtedly "Putain le Grand Amour." With sounds mid-lyric, half-folk, half-Carmen, Lara demonstrates in this title all the beauty of her voice. I love it.
Other title absolutely sublime: "La Vie est La. It draw tears to your. The great Lara. Emotions guaranteed.
"Je reve d’une etoile", beyond the emotion conveyed, has an almost heavenly almost divine dimension, ... Let yourself go. "Que c’est reste" will offer another trip back in time. Against the sizzling backdrop, and in a spirit of lyrical musical nostalgia, let it invade you.
Other beautiful songs, "Je t’appelle", "Danse" and "Un ange est tombe" - so powerful - "Amourexique", "Mirage" and "Que j’etais belle" - so touching. For the rest, "Kalpataru" is amazing, "C’est la lune" mesmerizing. And finally "Mon desir", "L’enfant de Gwenved" and "I Am A-WA" (Lara's favorite) complete the dignity and beauty in this album.
The set is very linked with the breadcrumb the famous "secret." That happiness, that of love. The whole album is a message of love. Love for others and especially self-love. A very personal album, which gives it no doubt that emotional strength. Which signals the return of Lara Fabian.
The only downside of the album is that often given the voice, you do not understand "everything" she sings ... But it's so beautiful.
I did not merely listen to the album, because I also visited the showcase. I must admit: the live dimension gives both more spiritual and humaneness to her voice. Thus, before a captivated audience, applause and honors, Lara Fabian presented the new album. This is probably the best vocal performance I was able to attend. Bravo.
PS: Lara, do not listen, Photoshop or not, the photos appeared in "Gala" are sublime.
