'SONGBIRD SINGS LEGRAND'
Flawed, Though Significant Show
by Vladimir S. Bunoan
Phil. Daily Inquirer, Feb. 24, 2003


Standing Ovation

AFTER last year's successful pairing of well-loved composer Michel Legrand and local pop diva Kuh Ledesma -- also for Valentine's Day -- concert producers Maxi-Media International was encouraged to bring back the French maestro to Manila but this time with belter Regine Velasquez.

It has been reported that the composer had always wanted to work with Velasquez, except that last year, the songbird had already set a date with American R and B artist Brian McKnight at the Araneta Coliseum. Well, this year, the Frenchman got his wish.

I wish I could say the same with concertgoers. There is no doubt that "Songbird Sings Legrand" is one of the biggest hits in the concert scene so far this year. Originally slated for two nights at the Plenary Hall of the Philippine International Convention Center (PICC), the producers had to add one more performance (Sunday) to accommodate the huge demand for tickets. And that show, too, was practically sold out.

Despite the appreciative response from the audience -- the performers were given a standing ovation with a sputtering of "Bravos!" from the gallery -- I sensed it was more out of respect. Their high expectations were not fully met.

So allow me to voice it out. "Songbird Sings Legrand" is a flawed though significant show. And it's not as impressive as last year's Valentine's Day spectacular.

It appeared as if Legrand and the producers were too conscious about not doing a repeat performance of last year only with a different vocalist, so they dropped several expected numbers from the repertoire.

Since last year's concert was the first time for the French artist to perform in Manila, he packed it with all his well-loved compositions, while Ledesma didn't allow this special opportunity to pass without making her own mark.

Ledesma was at her element, confidently and elegantly striding around the stage, claiming the songs as if they were her own. Theirs was truly a collaboration between two acclaimed artists.

Wonderful Duets

Ledesma handled spiels, helped engage the audience, and did wonderful duets with Legrand. You genuinely felt that it was a joint concert.

Despite the show's billing, "Songbird Sings Legrand" was more focused on Legrand. In fact, Velasquez didn't show up until the second act. (The concert had a 15-minute intermission.)

The first act was just Legrand and the San Miguel Orchestra in an almost classical setting. The centerpiece was a rather lengthy "overture" with various movements based on the Legrand classic, "I Will Wait for You" (from the musical "The Umbrellas of Cherbourg").

Despite the lush arrangement, particularly for the string section, led by violinist Joseph Esmilla, not a few people were fighting hard from dozing off during this particular number as they were probably not expecting to hear this at a pop concert.

The other instrumentals were more jazz-inspired including a rearrangement of "How Do You Keep the Music Playing?" and an almost jazz big band rendition of "Summer Me, Winter Me."

Velasquez appeared in the second act in a white ballgown by designer Rajo Laurel with the back cut low. Her first few numbers were sung in French and she hardly talked to the audience.

Her first faintly familiar song was "On My Way to You," a cut from Barbra Streisand's "Till I Loved You" album, but then she did "Something New in My Life" (originally recorded by Stephen Bishop for the "Mickey and Maude" soundtrack) and "Happy" (one of the early solo recordings by Michael Jackson).

Two Headliners

There was also a duet of "What Are You Doing the Rest of Your Life" from the two headliners, and a medley of songs from the Streisand flick, "Yentl."

Legrand also accompanied Velasquez for a quiet version of her signature hit, "Kailangan Ko'y Ikaw," which had the singer fawning over the honor.

There was a visible strain in Velasquez' voice that night. Her lines weren't as graceful, there was a noticeable nasal quality when she's not belting, her ending notes weren't as effortlessly sustained.

On certain numbers, she appeared to be going for a more Broadway-style of singing with clear head tones but it was obvious that she was working hard at it. Perhaps she was feeling fatigued given that this was already her third night and she still had to appear at her noontime show "SOP" earlier that day on GMA 7. But a friend who saw the opening night performance on Valentine's Day also noticed that Velasquez was having difficulties even then.

Velasquez had done Legrand medleys in her previous shows like at the Captain's Bar of the Mandarin Oriental Manila, and these normally would be showstoppers. But even during "A Piece of Sky" from "Yentl," which she can do on demand, her voice wasn't as thrilling. However, she outdid herself, I believe, in "The Way He Makes Me Feel," which she performed with all the necessary emotions and a subtle dramatic styling -- a truly moving moment.

Staccato delivery

Legrand rearranged "A Piece of Sky" as a duet with a French martial beat. Yet, even with his staccato delivery, the number, I felt, lacked the fluid sweep conjured up in the movie.

When they rendered "Papa, Watch Me Fly," it just didn't soar. Unfortunate since this was the final number of the whole show.

Naturally, the crowd shouted for more, and the duo returned and reprised exactly that number. I think the audience was dumbfounded by this decision such that when Legrand and Velasquez finished, the crowd was rather tentative with their response.

The star-studded audience that night included the likes of Sharon Cuneta and Sen. Kiko Pangilinan, Lani Misalucha, Kuh Ledesma and daughter Isabella, Christopher de Leon and mom Lilia Dizon, Ruffa Mae Quinto with Christian Vasquez, and even broadcasters Mel Tiangco, Jessica Soho and TJ Manotoc.

As is, "Songbird Sings Legrand" is still a well-produced, well-performed show (the orchestra was excellent), clearly a cut above the usual concerts we have here. But there were just too many opportunities that have been missed.

Velasquez' powerful voice could have been better utilized and she should have been given the chance to sing the real Legrand classics. With all due respect to Legrand and the producers, allowing Velasquez more stage time would not necessarily take out the focus away from the composer. In fact, the songs, I believe, would be better served. The audience for sure wouldn't mind hearing both instrumental and vocal performances of the same songs.

Source:inq7.net