EKSTRA BLADET (Denmark)
Lady Gaga
by Henrik Queitsch
May 29, 2010
Photo: Andy Newcome/Wikipedia
The cult diva, Diamanda Galás, delivered an unforgettable experience in the Marble Church.
At the entrance to the Marble Church’s beautiful dome-shaped room, the sign says: ‘A room for prayer and silence.’ This request was not taken very seriously at the Friday night concert held by 54-year old Greek American cult diva Diamanda Galás.
Actually, the church had already been proclaimed “the church of the sexually insane” by Lydia Lunch’s first act.
Galás moves in the gray area between avant-garde, chanson, opera, blues and a lot of other good stuff.
Her distinct mark is her exceptional voice that stretches over four octaves, and which she uses more as an instrument than a singer normally would. In other words, Galás is completely untraditional.
Frontal Attack
Friday night she accompanied herself on a big grand piano that was placed in front of the altar. With discreet but extremely atmospheric stage lighting that captured the very best of the spectacular setting, Galás delivered a performance that sounded like nothing you have heard before.
The vocals shifted between strident frontal attack and passages of abysmal beauty. She went directly for the nerve paths, and is one of those artists that makes you either run for the exit or give yourself up unconditionally to her.
Luckily, the crammed church chose the latter, and the standing ovations and four curtain calls which followed the hour in the company of this unusual voice showed that everybody had experienced something they will never forget. And how often does that happen?
(translation by Lejla Foric)
Lady Gaga
by Henrik Queitsch
May 29, 2010
Photo: Andy Newcome/Wikipedia
The cult diva, Diamanda Galás, delivered an unforgettable experience in the Marble Church.
At the entrance to the Marble Church’s beautiful dome-shaped room, the sign says: ‘A room for prayer and silence.’ This request was not taken very seriously at the Friday night concert held by 54-year old Greek American cult diva Diamanda Galás.
Actually, the church had already been proclaimed “the church of the sexually insane” by Lydia Lunch’s first act.
Galás moves in the gray area between avant-garde, chanson, opera, blues and a lot of other good stuff.
Her distinct mark is her exceptional voice that stretches over four octaves, and which she uses more as an instrument than a singer normally would. In other words, Galás is completely untraditional.
Frontal Attack
Friday night she accompanied herself on a big grand piano that was placed in front of the altar. With discreet but extremely atmospheric stage lighting that captured the very best of the spectacular setting, Galás delivered a performance that sounded like nothing you have heard before.
The vocals shifted between strident frontal attack and passages of abysmal beauty. She went directly for the nerve paths, and is one of those artists that makes you either run for the exit or give yourself up unconditionally to her.
Luckily, the crammed church chose the latter, and the standing ovations and four curtain calls which followed the hour in the company of this unusual voice showed that everybody had experienced something they will never forget. And how often does that happen?
(translation by Lejla Foric)