Celine Dion - A New Day...Live In Las Vegas w/Bonus DVD
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Music CD Cover
Artist: Celine DionEdition: Music CD
Format: Live
CD Release Date: 2004-06-15
Music Label: Sony
Soundtracks:
- Nature Boy
- It's All Coming Back To Me Now
- Because You Loved Me
- I'm Alive
- If I Could
- At Last
- Fever
- I've Got the World On a String
- Je T'aime Encore
- I Wish
- I Drove All Night
- My Heart Will Go On
- What A Wonderful World
- You and I
- Ain't Gonna Look The Other Way
Free Music Notes for A New Day...Live In Las Vegas w/Bonus DVD
Free Music Review: That's Show Biz
Hit: 3 Stars
At first glance, I thought that the cover shot of this Celine Dion CD was a still from a 1930s German Expressionist play. You know the ones with the evil Capitalist standing imperiously above the longsuffering, hunched over Proletarians and screaming, "An die Arbeit, ihr Hunde!' ("Get to work, you curs). I actually glanced at the song listing to see if Bette's "Oh! Industry" from BEACHES was among the selections.
Well, appearances can be deceiving, and watching the accompanying CD, it looks like both the "workers" and their "taskmistress" were really just all having the time of their lives. In fact, watching the DVD (I know it's only a promo AND a precursor to the actual performance DVD released several months later--but actually for me, it pretty much suffices), served as a reminder that, contrary to the opinion of some in my immediate circle Celine, is NOT the Antichrist. What she is, I think, is a starstruck grown-up kid (like fellow Vegas denizens Cher snd Bette, ) who has actually managed to realize the gold lame fantasies that dominated her relatively impoverished youth. But unlike the former Mrs. Bono and the current Mrs. von Haselberg, Mme Angelil has absolutely no sense of irony about her status as a showbiz icon. And that's understandable. Hey, she's North American, but not ALL-American. And she doesn't quite get that camp thing.
Which may make her the campiest of all, ultimately. She is weirdly sincere in everything she does. Listen to her go all schmaltzy and gaga about her kid (sniff) Rene-Charles. No contemporary US-born artist could get away with that kind of claptrap these days--even in Vegas. It's not like she doesn't have a sense of humor: she mugs for the camera and horses around with the crew. But she doesn't have any of those "Ohmygawdwhatamidoinghere?" moments that are typical of a Cher or Bette extravaganza. Irony is NOT what Celine is about. She is something of a throwback in that regard. And for folks who wish Streisand were still doing it or that Minnelli still could, Celine more than fills the bill.
I keep hearkening back to the DVD. A lot of the fans apparently felt ripped off by it, but for me, it's really just the right little sample of the Vegas show (et al.). The thing is so goshdarn glitzy that it borders on the psychedelic (if not the Expressionistic) at times. Sitting through the real thing must be dizzying. And that can be a good thing, but I'm not really up for it at my advanced age. Give me the folksier moments, like her singing the Anglo-Spanish carol "Feliz Navidad" with her extended French Canadian famille any time. Corny as Karo Syrup, but it worked for me.
What worked a lot less well for me is the actual CD. I'm sure the show works/-ed well enough on its own glitzy terms--and I'm pretty sure that Celine Dion can sell a song AS A SONG in concert under other circumstances, but relatively speaking, this is a pretty weak set. Maybe the visuals WOULD help. A track like "I'm Alive" might work for a live audience, but for folks listening at home, it's bogged down by way too much awkward stage banter. I mean, you could say that there's something endearing about her attempting a little street cred ('rue cred'?) by hooting out, "Go, Girlfriend," but you gotta admit, it's also pretty lame.
I guess you can always expect "tributes" to show biz legends of yesteryear in a Vegas show, but Celine's choices (Etta James' "At Last," Peggy Lee's "Fever," and Sinatra's "World On A String") are woefully misguided. To her credit, she doesn't slavishly imitate the original artists' vocal styles (although the arrangements are pretty derivative), but she also does little to make you forget the originals, even for a second. And is it really wise for a very Caucasian quebecoise attempting a Stevie Wonder song (and this well before Don Imus) and actually singing the words "when I was a little nappy headed boy"??
None of the tunes previously recorded as studio tracks begin to rival the originals. Nor do they offer much of anything in the way of a new interpretation. Again, audience members wouldn't think twice about such matters. But listening to the audio as audio really isn't likely to do much for anyone. Throwing in two relatively weak studio tracks at the end doesn't really help matters. Someone must have decided they'd just bog down an eventual studio release. They scarcely help here either.
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