Neue Zürcher Zeitung, June 6, 2012: Difference between revisions
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<small>Während seines knapp dreistündigen Auftritts zeigte sich Elvis Costello als vielseitiger Entertainer und Sänger. (Bild: NZZ / [[Christian Beutler]])</small> | <small>Während seines knapp dreistündigen Auftritts zeigte sich Elvis Costello als vielseitiger Entertainer und Sänger. (Bild: NZZ / [[Christian Beutler]])</small> | ||
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<center><h3>Fighting in the throat</h3></center> | |||
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A wheel ruled the stage at the Kongresshaus - Elvis Costello's Spectacular Spinning Songbook (the idea comes from the 1980s). While colleagues are wont to compose a repertoire latest songs and greatest hits, presented the 57-year-old singer / songwriter on Monday only this song selection. Women and men in the audience were allowed to spin the wheel. And when it came to a stop again an arrow showed the track the singer and his accompanying trio The Imposters had to play. | |||
'''Breathless''' | |||
First, however, the musicians had come out without the "Spectacular Spinning Songbook" In rapid succession, they first played "Hope You're Happy Now", "[[Heart Of The City]]", "[[Mystery Dance]]," "[[Radio, Radio|Radio Radio]]." The companion clubbed and gagged while the maestro rushed breathlessly through the verses - just as he had carried around these songs for too long in the mind. Costello but probably just needed a first phase of Einsingens to the tapes of his vocal organs were metallized seemingly softer and smoother. The harsh vocals - he was the fascination of the evening, although, or perhaps because he was not always confident and sometimes threatened to suffocate in hoarseness. Costello's voice compete in various impulses and powers: Great grown up with punk and new wave, the Briton is always on the one hand and rowdiness on persiflage poses. Other hand, he has an affinity for jazz phrasing, as well as the authentic emotionality of folk. | |||
Such conflicting forces manifested themselves in the concert-drama. With the song wheel Costello opened casino and vaudeville. Thus, the atmosphere just never suffered from cramped attention, too much respect or sense of art, he completed his 170-minute show nor by the " Hammer of Songs" - a kind of songs Hammer and Bell, as well as the Go-Go Cage where not only a dancer could perform, but also those listeners and listeners who had previously played fate at the wheel. Costello sat down again and again great as greasy and witty emcee's scene. This star shines so by vanity and arrogance, cynicism and nerdy by assiduity; worse: He seems very intelligent and gifted musically. Such mortgage but he hid now live by comedians so much charm and understated that it was a pleasure - although his art was promptly suffer. | |||
'''High culture''' | |||
The fate of the wheel would have it, the menu was dominated by harder songs such as "Turpentine" and "Pump It Up". Costello's vocal sloppiness that might be appropriate here, then got in the way in the freestyle expressive ballads like "She" or "I Want You": The vibrato, the coloratura, the jazzy phrasing that characterize Costello gentler moods, were not validity, so he probably put something almost helpless in an exaggerated echo effects. Even so wanted to be satisfied with wit and lively conversation, he still cared for trips into the high culture. In the ballad of Bänkelgesang "Jimmie Standing In The Rain" as he excelled through virtuosity and thrilling dynamics. | |||
Zurich, Congress House, 4 June. | |||
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Revision as of 07:26, 28 July 2014
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