Kreviazuk Revisited

The Chantal Kreviazuk and Edmonton Symphony Orchestra concert I went to on November 1st confirmed that there are no bad performances at the Winspear. I've enjoyed many inspiring shows at the Winspear (Rufus Wainwright, Sarah Slean) and last Monday's event did not digress. Though we were in what are technically the nosebleeds of the venue, the acoustics were paramount and our view was what was to be expected (though I was jealous of the woman in front of us for having
brought binoculars). Chantal, as we are now on a first-name-basis, revived in me a nostalgia that transported me back to a time of innocence and first-love giddiness. I have to admit that I did not remain a consistent Kreviazuk fan throughout the years and have thus missed a lot of her progression as an artist. Like most children of the '90s, much of my Kreviazuk appreciation comes from her 1997 hits on the Under These Rocks and Stones album and her infamous cover of "Leaving on a Jet Plane". So, when Chantal busted-out "Time" with her mesmerizing piano play and diva stylistics, I was whisked back to a time when I was a Club-Monaco-sweatshirt-wearing, F.R.I.E.N.D.S-watching teen. Adolescence, scarring as it was, was a time when I had an open heart and was unjaded about the world. Chantal unlocked those same emotions in me during her performance. I suddenly felt the overwhelming feeling of invincibility that I had when I was a teen, a care-free optimism that is only possible through the eyes of a self-absorbed, naive teenager. I was similarly jolted by "Surrounded", especially because of the back story to the song (it's about Chantal's first love, an outgoing, kind, and extremely artistic young man who sadly took his own life). As the songs were originally written for piano accompaniment, having the orchestra in the performance made for a grandiose, theatrical sound. During the concert I realized that this is my ultimate concert experience, going to a well-designed venue, sitting in comfortable seats, faintly experiencing nostalgia, and being inspired by musical genius. As I left the concert and continued on with my life, I was left with bit of teen fearlessness and a hope that my jaded adult worldview would be instilled with a hint of adolescent optimism.

La Boheme

REadmonton has been on a brief hiatus, not because there haven't been amazing artistic happening in this northern city, but because there have been too many. In brief, last week's La Boheme at the Jubilee Auditorium was magical and fervor-laden. As a first-time opera goer, I found my experience lived up to my outlandish preconceptions. Though our seats were bohemian , I was able to make out the decadent set and the delicate intricacies of the costumes, especially Mme Musetta's wardrobe (though most of us were likely enchanted by her elaborate bodice for obvious reasons). Puccini's depiction of the Bohemians of Paris in the 1830s was one of great respect and appreciation for artistic dedication. I found the opera to be one of a political nature where respect was reserved for the pauper and ridicule for the rich. That being said, there wasn't an overpowering sense of agenda, and I found that plot was little to be found in the opera. But, where plot is lacking in La Boheme, it makes up for in artistry and beauty from vocal anomalies, costume, and stage decor. In short, La Boheme was a night out well enjoyed and instigated contempalation over getting season's tickets for next year.

I lamented two things 1) not bringing binoculars to more closely inspect the stage and 2)having parked on the "third" floor of the Jubilee parkade (as this resulted in breathing in exhaust for 40 minutes from 100s of vehicles, of ostensibly cultured folk who don't how to turn off their engines while waiting to exit).

Subsequent entry- Chantal Kreviazuk and the Edmonton Symphony Orchestra, and a single reminicent tear shed for nostalgia's sake.