The German Opera Project: the Bregenz Festival

Much can be said of stripped-down theatrical productions that do not diminish the power of the work. I once saw a production of The Laramie Project presented in the small theatre at the back of a Cuban restaurant, staged by Fighting Chance Productions. It in no way minimized the work’s message and reduced me and my companions to blubbering, quivering, weeping masses. It’s times like that when I love intimate theatre.

And then there’s the Bregenz Festival. 

What is the Bregenz Festival?

Think of opera. Now think of the phrase “go big or go home”, apply it to the staging, then multiply that to an absurd scale. You have the Bregenz Festival. Or just look at the picture to the left. That, folks, is a big-ass stage.

A competitor to the popular Bayreuth Festival in Germany, this uniquely Austrian opera company takes place every summer on the shores of Lake Constanza, located at the northern foot of the Rhine River. The first Bregenz Festival took place in 1946, a year after the war. Although the town itself did not even contain a theatre or outdoor performance space, the troupe still put together a production on two adjoining bridges and were backed by the Vienna Symphony Orchestra, who have been supporting and playing at the festival ever since. The Festival contains a number of concurrent performances including outdoor ballet, giving you the option of seeing Swan Lake not only in an outdoor theatre, but on an actual lake.

Over the years, permanent structures were put into place to house the orchestra pit as well as concurrent productions on different stages. Should the weather suddenly turn bad, the performances can move from the Festival Hall to the adjoining Seebuehne hall and house approximately 1,700 attendees, meaning that the performance would not be cancelled that evening and with only part of the audience members being furnished refunds in the event of rain. Now that is some outdoor planning. By 1985, some operas would run at least two seasons and stage structures were solidified so that the formerly outdoor festival would be able to run almost year-round.

What distinguishes the Bregenz Festival’s productions from your usual opera is the sheer audacity of the scale. The dazzling Lake productions are the ones that take place on mammoth outdoor stages that dwarfs the performers, reducing them to the size of ants. The concept of the staging is daring on a literally epic scale, with the floating stage by the lake towering several stories into the sky. Take for instance the picture to the left of the skeleton reading an oversized book the size of a small arena for the 1999/2000 production of A Masked Ball. Also observe the beheaded Statue of Liberty floating above the stage in a modernized version of Aida. You may recognize the giant “Tosca eye” from the James Bond film Quantum of Solace: that’s the opera Bond attends where there’s a chase sequence through the opera hall edifice. 

Together Again: Janet Jackson’s Number Ones Tour

[Programming note: original article ran June 11, 2011. This piece is running to coincide with the upcoming August 26 concert in Vancouver.)


The Blogger recalls his first-ever concert. On June 9, 1990, he attended Janet Jackson’s Rhythm Nation Tour. It became, at the time, the highest-grossing debut concert tour of all time. The Blogger didn’t care that he was sitting far in the back and watching Janet storm across the stage as a well-dressed military ant dancer. He didn’t care that production values dwarfed in the unfortunately oversized stadium (there were thousands of seats still available). He was just so darned happy to be there!

The Blogger has had the pleasure of seeing Ms. Jackson (if you’re nasty) live at least three more times since: on the janet. tour in 1994, the All For You Tour in 2001, and 2008’s RockWitChu Tour. Janet remains, Nipplegate or not, his favourite Jackson (sorry Michael). 

Ms. Jackson returned to the road this year for a scaled-down tour supporting her greatest hits double-disc set Number Ones, and showcasing her sets in a more toned-down setting. For those of us who grew up watching Janet dance out from under her brother Michael’s shadow and blaze onto the international stage on her own power, and watch her try to return from the Super Bowl Incident, any occasion to see Janet is a trip down memory lane. Here are five reasons why Janet Jackson still matters.

1. Janet dances her ass off. In an interview with her late, great brother Michael, he took one look at his sister in the 80s when she was heavier and said “lookit that butt!” Yes Michael, we can see it, but not because we’re ridiculing its size: we’re seeing it because she can shake whatever yo’ mama gave her. A Janet Jackson concert is an occasion for the world’s biggest dance party. Like Madonna before her, Janet made her name as a first-class dancer who happened to have a penchant for a great hook and melody. The fact that she has co-written every single one of her hits in her entire career speaks to her passion for the marriage of song and dance, and it’s her words – and therefore her conviction – that compels her to move. It’s guaranteed to make you move, too. 

2. Janet sings all her old hits in concert! Say what you will about her admittedly thin singing voice: Janet doesn’t lip-synch. She doesn’t need a back-up tape of her come-hithers and harmonies for those nights when she doesn’t feel up to it. You can hear every breath in her body and see every bead of sweat when she’s on that stage, and that’s from singing everything. This lady works hard. Janet has a vast array of nearly three dozen global Top Ten singles spanning the last quarter-century (it has been 25 years since her groundbreaking R&B album Control first stormed into the pop world). She understands that her fans have different favourites charting the span of her entire career, and she intends to give them the respect they deserve by singing every last hit, even if she has to blend them into medleys to fit them all in. 

The tour’s set list includes such early singles like “Nasty” and “When I Think of You”; iconic club-stompers like “Escapade” and “Rhythm Nation”; more mature work such as “That’s the Way Love Goes” and “If”; and sing-along favourites like “Together Again” and “Let’s Wait Awhile”. No one goes home from a Janet Jackson concert complaining about the songs she didn’t sing. And this time, with no new material to promote, the show is full of nothing but the hits! Everybody wins! 

Modern Film Classics: “Madonna: Truth or Dare”

For Dolce

Madonna turns fifty-three today. Fifty-three!

Although she has dabbled in low-key activities since the conclusion of her epic Sticky & Sweet Tour in 2009, and with Lady Gaga reigning supreme over the pop music scene with Adele and Katy Perry, the power of Madonna’s influence must be reiterated.

Madonna became one of the first contemporary pop musicians whose work has produced a sub-field of gender studies entirely onto itself. Leading feminist writer Camille Paglia wrote extensive academic essays on her. The Vatican all but called for her excommunication. MTV, back when it played nothing but music videos, at once revered her and punished her, as she has become the most-awarded MTV VMA Award winner in history and also one of the very first to have her work banned from the network (that would be the videos for “Justify My Love” and “Erotica”).

1990’s Blond Ambition Tour was the concert tour that cemented her iconic status. Intended to cross-promote her blockbuster Like a Prayer album, its follow-up I’m Breathless, and her starring role in her then-paramour Warren Beatty’s Dick Tracy film, it was the cultural phenomenon of the summer. When she premiered the Gaultier-designed cone bra in 1990 for her tour, it was one of the first instances where underwear was outerwear, and proved so iconic that the garment is on permanent display at the Metropolitan Museum of Art’s Costume Gallery. Until then, no one would ever think of wearing just a bikini top and bare midriff as a stage costume. The tour was so controversial that it prompted protests in Rome, almost landed the singer in prison for public obscenity in Toronto, and yet was so highly reviewed as performance art that it became the highest-grossing concert tour of the year. Hell, even Gorbachev – yes, Gorby!! – went to see her show, even though the Soviet Union was still alive and well. (To this, Madonna quipped: “Warren [Beatty]’s gonna be so jealous that I met him first! Hah!”) Rolling Stone magazine named Blond Ambition, despite being released at the start of the decade, the “Greatest Tour of the 90s” in 1999. The tour has become legend, especially since Pioneer signed an exclusive contract to release the concert tour recordings on Laser Disc only, and thus it is not available on DVD. Random clips have been uploaded onto YouTube, but the only place to see high-quality clips of some of these performances are in Truth or Dare.

Madonna became the single most powerful woman in show business. And everyone has, ever since then, tried to follow or out-do her: Gaga, Katy, Britney, Ke$ha, Rihanna, Christina, Gwen. Everyone. And if you asked any of them to name a musical influence, they would each say Madonna.

Truth or Dare, theatrically released in 1991 after a third album in a year and a half, was the document of the concert tour that burned through pop culture. In an era before the Internet became prevalent, the fact that Madonna was letting cameras follow her 24/7 to produce an all-access, no-holds-barred documentary, was unheard of. Camera phones and YouTube were but twinkles in their developers’ eyes. This was as close as we could get to reality TV at the time (asides from Cops on the Fox Network). Twenty years ago, this all-access documentary was considered the ultimate reveal. It’s still a cinematic powder keg twenty years later.

Love is King: Sade Live in Vancouver and On Tour

I was warned about attending this show by a close friend who is a major Sade fan. He said “prepare to be taken away. If you have any emotion, bring a tissue”.

Make no mistake that the crowd gathered at Rogers Arena on Saturday, August 13 in Vancouver is not your usual big-arena collective. The crowd skewed older, but testifies to the lasting power of Sade’s sultry sonic output. For those of you whose memories of “vintage” pop music date as far back as Jennifer Lopez’s J. Lo album in 2001: yes, Sade is still a big-name act and one of the few lasting acts in contemporary music. It’s just that their music will never date as badly. Want more proof that people still buy their work? Their last studio album, Soldier of Love, opened at No. 1 in the US last year and sold a million copies. Got it?

That is also not to say that the audience was sedate simply because the vibe was decidedly downbeat before the set started. There was a conspicuous absence of hallucinogenic drugs and no yahoos were dancing around, shrieking drunkenly. None of that is needed, not at a Sade concert. However, the crowd’s benign façade melted away as the house lights were dimmed and the strains of “Soldier of Love” came over the speakers, the audience rose as one to welcome the band. Once Ms. Adu took the stage in a fitted bodysuit showing off a remarkable physique, everyone at Rogers Arena lost their collective minds.

I should clarify that Sade is not just the stunning, alluring singer known as Helen Folasade “Sade” Adu. It is also a collective comprised of founding members Stuart Matthewman, Paul Spencer Denman and Andrew Hale. If you look through the band’s history, their many music industry prizes include a number of Grammys, two of which were awarded to the best vocal performance by … a duo or group. The band is simply named after her and she is the frontwoman for this long-running collective. This is the key to understanding that Sade is a classy outfit and they put on an elegant show. For the purposes of this review, I will refer to Sade Adu the singer as simply “Ms. Adu”. It would be strange to refer to her otherwise as “Helen”, at least within this context.

The first proof that Ms. Adu is a sophisticated lady and that this was a classy affair was right after the opening number, when she addressed the audience by saying that their long absence from the city was not a reflection of how the band felt about Vancouver. She praised how beautiful Lotus Land was, thanked us for coming, and promised us a show. This was at 9:45. To show us that she meant it, we were still screaming for an encore by the time her set ended at 11:45, but I’m getting ahead of myself.

The band ripped through an elaborate back catalogue dating back to their debut album, 1984’s Diamond Love. To keep momentum up after the glorious start, the opening strains of “Your Love is King” brought lovers near and far closer together. At one point I thought that there would be a mass exodus of couples from the venue before the show ended, not a reflection of the show’s quality, but a testament to the band’s lasting power to make some of the best baby-making music ever recorded. Adu’s remarkable voice was an instrument so fine it is the equivalent of a 1683 Stradivarius: an extremely rare, classic instrument that only grows finer and achieves greater clarity as time goes by, and deserves the utmost respect.

Happy Nation: Ace of Base Concert Review

Vancouver is a town notorious for having some of the least animated concert crowds. A friend went to Beck’s December 2002 performance and even he was disgusted by our collective behaviour, intoning sarcastically, “uh, this is the last song of the night, you can get up and dance, if you want to.”

Thankfully, there was no such sign at the Ace of Base-headlined Outgames Closing Party this past Saturday. There was only The Sign.

The show took place at the Plaza of Nations, located at 750 Pacific Boulevard in downtown Vancouver, across the street from BC Place Stadium, which non-locals will recognize from the 2010 Winter Olympics. The Plaza is an open-air square and concert space, the sort of piazza that one expects for outdoor performances in Europe and the American East Coast but is curiously missing from the West Coast, despite the fact that there’s a lot more land to build. The Plaza is also home to Gossip Nightclub, a fun straight bar that occasionally attracts a good cross-sectional demographic. It’s also the site of the Edgewater Casino and is located directly from the visually stunning Olympic Village housing development across False Creek. The mixture of fiberglass-and-steel structures, offset by the iconic stadium and pleasure cruises and yachts swanning along False Creek, made for a perfect outdoor concert.

The crowd at the Ace of Base show was surprisingly more hetero-friendly than one would expect. Since it’s well-known that nostalgic pop music concerts cater to a predominantly gay audience, it’s always a bit surprising to find throngs of straight girls and a few of their boyfriends at an event like this. Nevertheless, the beautiful thing about Vancouver is that increasingly, people look beyond the “labels” attached to gay-dominant events and bring out locals from different social groups, all in the name of partying. I worked the ticket booth at the event and saw first-hand the crowd heading into the venue. Everyone was in for a good time and the band did not disappoint.

Someone Like Adele

[Originally posted on May 26, 2011. Updated to include new tour dates and venue information.]

The Blogger nearly walked out on a date a few months back. When he professed his love for the music of Adele, whose gloriously bluesy soul has not left his iPod since the start of 2011, his dining companion declared, “Yeah, I can see why you like her. But I think she’s too easy to like, you know?” No, I don’t know. Why should good music be difficult to be appreciated? Sometimes, all you need is a piano and a voice.

British singer Adele finally achieved global domination in 2011. She scored the dual honour of having the Number One album and single in the UK at the exact same time for several weeks earlier this year, a feat achieved by few artists. Her popularity was such that she had two singles in the Top Five at the same time that she achieved two Top Five albums simultaneously, a feat that only she and the Beatles have accomplished. Adele’s current disc 21 entered the American album charts at the summit and her single “Rolling in the Deep” is the reigning Number One hit. See? It’s not too easy to like, is it now?

Adele herself may have underestimated her own appeal in North America. When tickets went on sale for her current tour, there was a small hysterical dervish evidenced by the hordes of Facebook account holders who despaired at not being able to get tickets. Adele is playing the Blogger’s hometown of Vancouver at the Orpheum Theatre on August 9 (rescheduled from the original date of May 31), and tickets were literally sold out in seconds: 180 of them, to be exact, or a scant three minutes. The only show in recent memory to sell out so quickly is the pair of Lauryn Hill shows last May. Despite the move from the intimate Commodore Ballroom to the larger Orpheum, one feels that there was a missed opportunity for the newly-minted global superstar to sell out even larger venues or play over several nights.

But what’s so easy to like about Adele? It’s simple, really: she’s a blue-eyed soul singer, tinged with a hint of blues. Imagine a combination of Dusty Springfield’s grit, Kate Bush’s lush crooning, Bonnie Raitt’s rockabilly groove and Etta James’s growl, simmered to sonic perfection. Now add Lauryn Hill’s wisdom and sensibility to the mix, combined with Amy Winehouse’s wit (although unlike the recently deceased Winehouse, Adele has been clean and sober for years),  and you’ll understand the gift Adele shares with the world.

Beautiful Life: Ace of Base at 2011 North America Outgames

There’s a line in Almost Famous, when Zooey Deschanel’s character says to her un-hip but sweet brother, “don’t worry: one day, you’ll be cool”. Some have claimed 1990s dance band Ace of Base were anything but cool, even if they were the most successful musical act of the planet and sold 20 million records in a single year. It’s rather appropriate then that the group gets to headline the forthcoming North America Outgames Closing Party during Vancouver Pride Week, arguably the single coolest event on the social calendar in Lotusland this summer.

Ace of Base is the brainchild of Swedish singer-songwriter Ulf Ekberg and initially composed of five members, including sisters Jenny and Linn Berggren. Eventually, other members of the band left and the Berggrens' brother Jonas stepped in, forming the most familiar line-up of the group in 1990. Ace of Base first attempted to bring techno-dance sound to the airwaves, but were prevented from major breakout success even in their native Sweden due to the prominence of heavy metal in the early 1990s. Eventually, they broke through with “All That She Wants”, a dub-reggae single that came to represent their signature sound and conquered European pop charts in the fall and spring of 1992-1993.

Ace of Base, the "classic" line-up

The band first emerged on the international music scene in the summer of 1993, when “All That She Wants” appeared in North American clubs after conquering the European charts over the previous three seasons. In a rare feat, and in an era when grunge, New Jack Swing R&B and gangsta rap ruled the airwaves, the dub-reggae-infused dance club single gained significant airplay in the United States and crossed over on the pop, adult contemporary, dance and R&B charts, ultimately peaked at Number Two and selling well over a million copies domestically. Follow-up single “The Sign” gave the band their only US #1 in 1994, but it proved so popular and enduring that Billboard magazine named it the #1 single of the entire year. Parent album The Sign topped the charts as well, and became the year’s best-selling disc.

The band, however, was unable to repeat the same success. Their 1995 follow-up disc The Bridge was a failure on the American charts, peaking at #37 just a year after having the most successful disc in the country. The band quietly reined in their North American efforts, although their cover of Bananarama’s immortal “Cruel Summer” made the Top Ten in 1998 and “Beautiful Life” remains an enduring hit on recurrent radio. Elsewhere in Europe, the band’s success continued through the rest of the decade, even if the Berggren sisters both receded to the background voluntarily before eventually leaving the band. Eventually, they were replaced by Clara Hagman and Julia Williamson, forming the current lineup.

Roads: Portishead's 2011 Tour

Sometimes, nothing hurls you gob-smack into the middle of your youth like hearing from an old favourite band. In the spring of 2008, the Blogger gleefully heard that the long-dormant, presumed-defunct mid-90s British trip-hop combo Portishead were releasing their first album of new material in over a decade. Suddenly, the writer shed all layers and armour of his presumed adulthood and opened the closet door (pun intended) to an awkward adolescence defined by sexual anguish, bad complexion and an unfortunate amount of flannel.

Portishead’s landmark disc, 1994’s Dummy, swept onto our shores with the emo movement, well before emo was even a catchphrase. Its numbing, sonic landscapes provided a lushly enveloping cocoon as turbulent as our feelings. Lead singer Beth Gibbons’s faraway vocals may have sounded disconnected at times but would descend into whispered anguish so potent it hardly dared to unleash its full force for fear that it might smash your stereo to smithereens. The chilling, spooky lead track “Sour Times (Nobody Loves Me)” brilliantly married a seemingly runaway snippet of old Hitchcock score with a fractured, hurried beat that somehow made for a brilliantly gruesome aural death match. The song laid siege to my Discman (remember those?) for several months in the spring of 1995, winning the prestigious Mercury Music Prize along the way.

“Sour Times” was accompanied by a haunting video with a now-cult-iconic image of Gibbons being interrogated in the bowels of MI-5’s office. Its juxtaposition of musical elements and the accompanying clip almost dared the listener to tell us just how awful we felt about ourselves at the time. How we felt at the time was a closely guarded secret, as personal and potent to us as the whereabouts of certain political renegades are to heads of state. Such experimental fare had maximal impact on MTV and radio at the time, but would have no room for the crass “reality” swindle and shallow, cookie-cutter contemporary radio that currently pollutes popular art and the public consciousness.

A decade passed after Portishead released their acclaimed second disc in 1997, and promptly vanished. In particular, they developed on their self-titled second disc the drama and orchestral sweep which would later inform Third. In particular, the magnificent, gut-wrenching “All Mine” that is nothing less than a shriek of passion from the depths of romantic misery and possession.

Take a listen and maybe you’ll see understand how it wouldn’t be out of place in a modern updating of Wuthering Heights.

They left behind a musical legacy evident in works by trip-hop artists like Massive Attack, who continue its evolution of sound long after the public was distracted by more disposable fare. Proof of Dummy’s lasting popular impact was immediate when, within nanoseconds of posting the news of the tour's announcement on Facebook, three of the writer’s friends wrote to proclaim their love for this remarkable band. Such swift declarations of love from a decidedly uncommercial, almost obscure British band speaks volumes on Dummy’s remarkable, lasting visceral power. Gibbons and company had cut through to the emotional core of its audience when first released and unwittingly held onto it. If the album were not as effective, then it would not have brought about such spontaneous adoration.

Random Acts of Culture, #1

Tovey and the VSO (source: The Georgia Straight)

It’s often said, at least in North America, that the higher arts are inaccessible to the public due to high ticket prices and the esoteric nature of the material. While the Blogger easily sees the former being a barrier to access, he believes the latter is indefensible. Although many clearly don’t have any affinity for culture, and that’s all well and good, decrying it as being obscure and pouring money into the latest big-budget seizure-inducing Hollywood enterprise or pop star’s juggernaut concert tour while claiming to enjoy “the arts” reeks of sheer laziness.

The Blogger was thrilled yesterday to take part in the City of Vancouver’s 125th anniversary celebrations this past weekend. There were numerous outdoor events such as concerts and public performances meant to collect our citizens together in celebration of our glittering city of glass, still smarting from the ugly Stanley Cup riots of last month. Over the weekend, thousands of people gathered to peacefully partake in public events with minimal or no damage to civic or private property. Citizens were orderly, picked up after themselves at picnics, were generally polite on their cell phones, and there was little to no shoving, pushing, or unruly cattle herd-like behaviour. Who says we’re an unruly mob?

New York City free public concert in Central Park:
most of this, please. Lots more.

In particular, I was thrilled to see tens of thousands of people gathered in Stanley Park’s Brockton Oval to take in a free classical concert performed by the Vancouver Symphony Orchestra. Just when I thought higher culture had all but committed seppuku. Led by Grammy Award-winning conductor and composer Bramwell Tovey, the VSO performed to a rousing but orderly crowd under immaculate blue skies and a blazing yet beautiful sun. This is not unlike the free public concerts that are popular all over Europe, particularly in Vienna, and in the summertime in New York City. Why can’t we have more of these, please? In Vienna, they have free public concerts every weekend in the late spring and summer months. They support their arts enthusiastically. Even if you can’t afford a ticket to see certain plays, the opera house, culture exhibition halls and public parks are equipped with giant video screens in piazzas so that like-minded citizens and tourists can have picnics while watching the performances outdoors, live. And they don’t destroy it afterward, unlike the spoiled brats who defaced the downtown core during the hockey riots. That is how you make culture accessible.

Yesterday’s playlist was filled with instantly recognizable classics:

·     Rossini - William Tell: Overture

·     Strauss - Blue Danube Waltz

·     Baker - Through the Lion's Gate: Mountains

·     Wagner - Ride of the Valkyries

·     Haydn - Cello Concerto No. 1 in C Major: I. Moderato

·     Borodin - Prince Igor: Polovtsian Dances

·     Mascagni - Cavalleria Rusticana: Intermezzo

·     Tchaikovsky - 1812 Overture

The VSO also snuck in a piece by Canadian composer Michael Conway Baker, whose ode to our very own Lion’s Gate Bridge was far more ethereal and sublime than traffic on that bridge ever was or will be. The crowds peacefully took in the immaculate sounds and were transported to a world away, where people could literally waltz to the Blue Danube along the water. In fact, given that there was a large public space to do so, several couples got up and actually waltzed through Strauss’s The Blue Danube, and we were mere feet away from the ocean. Bliss. Given my obsession with German opera, I was thrilled to hear Wagner live.

Road Show: Les Misérables

“You only get one cry in life, you’ve chosen well!” – Rip Torn to Alec Baldwin on 30 Rock, upon giving his character a promotion.

Original Broadway poster

Far too many people cry at too much trash disguised as “art”. The Blogger knows people who cry at Twilight, Britney Spears concerts and Jackie Collins novels. Too bad these people have such terrible taste. The Blogger has been known to cry at only one book, film and play in his life. These are, respectively, Dostoevsky’s Crime and Punishment, Tim Robbins’s Dead Man Walking, and the musical of Les Misérables, or “Les Mis”, as he and millions of others affectionately call it.

Dubbed “the world’s favourite musical”, Les Mis was first performed in France in 1980 and premiered in London’s West End in 1985. The original French score was performed by Alain Boublil and Claude-Michel Schönberg, with an English language libretto produced by Herbert Kretzmer. Twenty-six years after its debut, the musical has yet to close and still plays eight performances a week. Such a feat for a long-running show is completely unheard of. The Broadway production, despite some initially mixed critical response, cleared the board at the 1987 Tony Awards and played for sixteen years in New York, with a successful revival less than three years after its closing. The libretto has been translated into 21 languages and performed over the last quarter-century in 38 countries, including Germany, South Korea, Chile, Japan, Argentina, the Netherlands, Israel, Sweden, Australia, Austria, Belgium, the Czech Republic, Denmark, Mexico, Hungary, Poland and Spain.

Colm Wilkinson, the original
Jean Valjean

Les Mis is no small production. The score demands two dozen major and featured parts. It has been greatly reduced from the original 1,400 page novel by Victor Hugo and yet performances may still run close to three hours. Set over several decades in post-revolutionary France, the main narrative thread concentrates on Jean Valjean, a man who served nineteen years in prison for stealing a loaf of bread for his starving family. This role is one of the most challenging in Broadway history and requires an operatic vocal mastery (it is often played by trained tenors). Upon release, Valjean is hounded by police inspector Javert, a man so relentless in pursuing Valjean over the decades that he’s essentially the world’s most inexhaustible parole officer. Valjean becomes a successful businessman who adopts Cosette, the impoverished daughter of the fragile prostitute Fantine. Fantine’s character is best known for singing “I Dreamed a Dream”, a now-iconic Broadway standard known popularly as Susan Boyle’s audition song for X Factor. Cosette was plucked from the brothel-owning Thenadier family, whose daughter Eponine grows up to fall in love with Marius, Cosette’s beloved. Marius’s school chums are at the forefront of the Paris Uprising of 1832, an insurrection at which thousands of rebellious, ill-equipped universe students who never held a gun in their lives were massacred. Through all this, fortunes are made and lost, the population starves and die, characters somehow survive and carry on through their hard lives together.

Lea Salonga as Fantine in the 2006 Broadway revival

Unlike most musicals, there are no dance numbers here. The musical has proven to be a draw for top musical talent over the decades, as roles have been performed by revered Broadway stars such as Colm Wilkinson, Patti LuPone, Alfie Boe and Lea Salonga. Other stars who have taken roles in various productions throughout the years and in the world include Matt Lucas, Deborah (formerly Debbie) Gibson, Daphne Rubin-Vega, Ruthie Henshall, Nick Jonas and Lea Michele. I personally know several people who each own several cast recordings produced over the last two and a half decades. In a British nationwide poll, the listeners of BBC Radio Two chose Les Mis as “The Nation’s Most Popular Musical”.

Party Girl: Rihanna’s LOUD Tour

I used to worry about Rihanna. The assault and battery charges against her now infamous ex Chris Brown, and the resulting public scandal arising from the photographs of the then-bruised and battered Rihanna, were so shocking that one wondered what effect that might have had on her music. Was one of the most promising superstars of pop music about to go into hiding?

No, thankfully, Rihanna released her fourth studio album, Rated R, a mere nine months after the ugly events of that fateful evening. The music plumbed heretofore unexamined grief, betrayal, anger and defiance. The sinister first single “Russian Roulette” became an international smash and one of the most frightening, in terms of verisimilitude, pop singles of all time. It was and is also a sonic masterpiece. The other singles on the album tell the rest of the tale: “Stupid in Love”, “Hard” and “Cold Case Love”, and added to her nearly endless coterie of smash hits.

The concert tour that accompanied the disc, the Last Girl on Earth Tour, was perhaps one of the darkest-themed shows in recent pop music history. The Blogger was surprised to see such a disturbing spectacle and although impressed with the show, wasn’t sure if it was OK to really dance and let loose the way he does at other shows. Rihanna sported a severe Mohawk and sauntered angrily atop a pink tank. She was depicted on video screens as being a desexualized, militant alien figure, come to do battle with unseen evil forces. Rihanna displayed a new vocal prowess, a deep, sobering, defiant growl that showed the world she may have been knocked down literally, but not for the count. Never count out Rihanna. Given that she used to sing about giddy love on such hits as “Umbrella” and “Don’t Stop the Music”, Rihanna’s musical odyssey exploring abusive emotional love spoke of trauma that inadvertently contributed to her musical growth.

Old Friends, Back for Good: Take That on Tour

On Friday, May 27, the British group Take That are starting yet another major tour of the British Isles and continental Europe. The group, comprised of Gary Barlow, Mark Owen, Jason Orange and Howard Donald, is coming off two highly successful series of shows within the last five years but will now have an additional weapon to make this latest juncture a blockbuster. The Progress Live Tour, in support of the album of the same name that is the fastest-selling album in the UK this century, will see the return of its prodigal son and most famous member, the immensely popular but troubled Robbie Williams, to the line-up. This makes the first time that all five founding members of the band will tour together since 1995, when Williams famously left the band after vanishing in the midst of a tour, surfacing at Glastonbury and announcing that he was sacked and / or had quit (depending on your point of view).

Forerunner of A&F catalog, circa 1993

Take That first came to cultural dominance between 1991 and 1996. In that five-year span, they released three multi-platinum albums and scored an astonishing run of eight Number One hits from a dozen Top Ten singles. Created in the mold of the American boy band New Kids on the Block (that’s NKOTB to you), Take That’s success in the UK, Europe and Asia was built partly on the still-hummable tunes by its songwriting progeny Barlow and partly on the band’s public image. Chiseled and buffed within an inch of their lives, all five members appeared in various stages of undress in their videos (such as their first Number One, “Pray") and they were one of the first major male pop stars that used model-ized imagery with a homoerotic current. Most of their publicity stills and videos from that era undoubtedly had no small influence on the fashion world, and it is not coincidental that the Abercrombie & Fitch catalogues of the last decade and a half have looked like their videos. 

Kylie Minogue: the Aphrodite Tour 2011

Dear Kylie Minogue,

You are in the final leg of your current North American tour, which has been playing to packed houses and received effusive praise. The Aphrodite Tour is scheduled to wrap up with a pair of celebratory blowout shows in San Francisco and Las Vegas this coming weekend. In celebration of your most recent triumphs, I am writing to tell you, in no particular order, ten reasons why I simply adore you. I know I speak for more than myself.

1. Your music.

I still know all the words to entire albums of yours. It doesn’t matter how bad a day it is, there is always, always a Kylie Minogue single to lift me from the bitch of living. Thankfully I have more good days than bad moments, and even on good days, hearing the warmth in your voice on so many of your dozens and dozens of still-danceable hits (which I murder with absolute glee and wild abandon at karaoke) can turn a good day into a great one.

2. You are Australia’s national treasure and its de facto cultural ambassador to the world at large.

I used to live in a graduate student’s resident and we had a number of visiting students every year from the University of Wollongong. This was around the time you made that blazing comeback with Light Years and especially Fever, but until “Can’t Get You Out of My Head”, people were skeptical about whether you could cross over back to this side of the pond. Then that song with that video hit, and you were the toast of America once again. Through all that, the Australian housemates and I kept tut-tutting and telling the locals what exactly they were missing. No one will ever forget you now. 

3. You keep me thin.

The Blogger grew up, shall we say, corpulent. Exercise is important to me. I still have the belief that I can swallow only air and gain weight. So whenever I hear you on my iPod, I automatically move faster on the streets and I smile real big. See? Endorphins are a happy drug! There’s a rush and I keep thin! Plus, whenever I am on a run and just. Can’t. Go. On, the shuffle magically delivers a blast of sugar candy dance pop from you straight to my ears and I have the will to carry on for that final push to the finish, or that extra bit to keep me running just a bit longer. That, and every time I hear you in a club, I go completely bonkers and will dance with whoever or whatever is in front of me: guy, girl, bar, speakers, wall, etc. The most important thing is that every time I hear a Kylie song, I am convinced that I can stave off the inevitable thickening of my waistline that comes with aging for just a few months more. 

Eurovision 2011: The Wrap-Up & Final Results

Well that was a most exciting three and a half hours!

Ell & Nikki of Azerbaijan, 2011 Eurovision winners

Azerbaijan made history this evening by winning the Eurovision Song Contest for the first time. As per custom, they will host next year’s contest at a location to be determined. Italy, returning to the contest for the first time in over a decade, claimed the runner-up spot. Sweden’s Eric Saade, whose fans were locked in a bitter Internet rivalry with fans of Russian Alexey Vorobyov, earned enough points to place third.

The Blogger is saddened that neither of his two picks for the big win, the UK’s Blue and Vorobyov, fared well, as both finished well out of the top ten.

It’s notable that when points were awarded to certain countries, the audience in attendance loudly booed their disapproval. Not wanting to ignite international warfare over pop music, the Blogger will simply attribute the placement of each entry to each country’s preference. The number of points any one entry gets in one nation will not necessary get points in another country. Some quarters have also accused nations for voting for their neighbours. One example is the perennial mutual awarding of top points between Greek and Cyprian entries, as well as those between Portugal and Spain. Nevertheless, as I mentioned in my previous article, despite the hand-wringing at this practice, what Eurovision succeeded in doing was bringing countries together. And unlike FIFA, there’s no four-year wait for the contest as it’s on every year! 

For those of you who missed it, here is the order of finish for Eurovision 2011 and the videos of each respective country’s entries, after the jump:

Guilty Pleasure: Eurovision Song Contest, 2011

UPDATE: the results of the 2011 Eurovision Song Contest are in and the recap is available here.

Eurovision 2011 Logo

Disclaimer: despite his proclamation and adoration for high art, the Blogger, like everyone else, has a guilty pleasure. His is the Eurovision Song Contest. Think of it as Martha Stewart having the occasional cheeseburger after eating healthy all week. No judgment.

 

Originally conceived in the mid-1950s by the European Broadcasting Union to unite a warm-torn, still-divided Europe, the Eurovision Song Contest was meant as a one-off light entertainment program. Fifty-five years after that first contest in 1956, the program has evolved into an annual international celebration of song showcasing the best Europe has to offer. It has also, in several corners of Europe, been met with much derision due to the rather, shall we say, extraordinary song choices. What may be considered hip, cool and cutting-edge in one part of Europe may be considered to be déclassé or outright vulgar. In North American urban nomenclature, one denotes this with the scathing words “Try Hard”. 

ABBA winning with "Waterloo" in 1974

Nevertheless, the Eurovision Song Contest has been indomitable and survived the Soviet invasion of Hungary, the Prague Spring of 1968, international incidents at the Olympics, Perestroika, the fall of the Iron Curtain, the formation of the EU and the rather alarming albeit mercifully temporary ubiquity of Fabio. The contest introduced the world to ABBA and showcased a teenaged Quebecois singer named Celine Dion who competed and won for Switzerland in 1988. The show has also, with the inclusion of several former Soviet republics, expanded to become more inclusive and focus less on the western part of the continent. Individual countries spend the winter months choosing their entries via popular vote, and this is undertaken with considerable seriousness and a surprisingly high degree of gravity. It is this writer’s opinion that the contest may be taken more seriously than many actual elections. In the end, the winner represents the nation to the world at large.

My Re-Education, with Lauryn Hill

“I wrote these words for everyone who struggles in their youth.”

Some days, the radio can sound so empty. The current vogue on American radio is overproduced dance beats layered over a hook to mask a thinly veiled voice trilling about hypersexual activity. This post on The Village Voice puts it most succinctly: it’s not that the records are terrible, it’s just that they’ve become a bit run-of-the-mill. By characterizing certain voices as “robotic” and “plasticized”, what we’re left with is a lack of distinct voices. That an artist as imaginative and original as Janelle Monae, who rivals Lady Gaga for producing some of the greatest hooks and visual trickery out there today, isn’t a bigger star is criminal. (Ironic that Monae’s album is based on the robotic character in Fritz Lang’s silent movie Metropolis but is more animated than the photocopied, soulless beats of, say, Britney Spears or Ke$ha.) This unfortunately speaks to the current appetite for naughty-but-safe product lacking strong artistic vision. In times like these, I return to Ms. Lauryn Hill, who is currently on tour and is coming to the Blogger’s home town of Vancouver on May 24 and May 25 for a pair of shows.

Born from the frustrations of her time with the Fugees and in particular the fallout from her professional and intense personal relationship with Wyclef Jean, The Miseducation of Lauryn Hill spoke of romantic betrayal, the empty pursuit of commercial gain, low self-esteem, the falsity and fragility of public image and set it all to an irresistible groove that has not and will not age. Miseducation is perhaps the ultimate R&B/hip-hop concept album, with its thesis that the definition of joy is misbegotten and distorted due to the barrage of imagery and ideas that are actually empty shells. Ten years before Gaga came out with The Fame, Ms. Hill already explored the topic of fame and committed it to sound. The difference is that whereas Gaga aspired to fame, Ms. Hill saw fame from her direct experience with it, and found it lacking.