- Media: Dnevnik.si
Authors: Gregor Pompe - Datum: Tor, 29. aug. 2023
Povezava: https://www.dnevnik.si/1043031198/kultura/glasba/kritika-pompe-razpoka-v-glasu
#kritika Pompe: Razpoka v glasuNemška pevka Ute Lemper je postala svetovna zvezda v drugi polovici osemdesetih in prvi polovici devetdesetih let. Takrat sem postal pozoren nanjo, še posebej zato, ker so agenti kmalu spoznali, da je mogoče tržiti njeno »vmesno« pozicijo, fleksibilnost, da hitro prestopa med žanri, da lahko navdušuje z lažjo glasbo (pop, muzikal), a da se lahko s svojo ekspresivnostjo hitro približa tudi glasbi nove stvarnosti, torej predvsem Weillovim songom, šansonu, da ni samo pevka, plesalka, gledališka performerka, temveč tudi subtilna bralka/pripovedovalka. S plošč, ki sem si jih tisti čas nabavil, pa nekako vsega tega zares nisem začutil – bila je tipična sposobnost barvanja glasu, vendar je bila vedno precej odmerjena, tako da je bila ekspresivnost zadržana, nikoli ekscesno izstopajoča, glas pa se je zdel po svojih osnovnih predispozicijah celo neizstopajoč. Prepričan sem bil, da torej pevkin čar počiva v njeni odrski karizmatičnosti, v nekakšni poroki telesa in glasu.Gregor Pompe
The German singer Ute Lemper became a global star in the second half of the 1980s and the first half of the 1990s. (Photo: Ljubljana Festival)
All of this could be verified at this concert at the Ljubljana Festival (Ute Lemper was not, incidentally, coming to Ljubljana for the first time). Yet this time the impression left a different feeling from the records made three decades ago. The crack in Ute Lemper's voice is now noticeably wider. If in the nineties it could be understood as a step into expressiveness, an inclination towards the purely human, the pronounced shifts in colour between registers can now be understood as vocal fatigue, as can a somewhat less pleasing, emphasised vibrato. In the middle register and within narrow ranges her voice can still sound attractive, and when subdued also full of substance, sensual and emotional; but as soon as it opens up to the higher register and to dramatic animation – and the singer's personality often wishes to reach there – it becomes too rough and hoarsely strained. Of course, such shifts of register can also be interpreted as a distinctly interpretative note, as rebellion, social criticism, a kind of cabaret pose, and with her programme, especially in the first half, the singer tried to play precisely on this element of content. It was precisely here, in the unforced linking of individual songs, through which she opened a window onto the time of the Weimar Republic and partly also onto Broadway, that she proved at her strongest, able to connect the present moment with the painful experiences of the past. But over time, when Weill was placed alongside Ebb, Piazzolla and Brel – quite diverse authors, after all – the interpretative approaches sounded far too similar and dependent on the basic characteristics and condition of the singer's voice. Ute Lemper gave of herself lavishly to the audience – in total the concert lasted almost three hours – but perhaps a shorter programme, especially one centred on Weill, where vocal impurities can be skilfully turned to expressive use, would have brought even more vocal and musical pleasure.
Pevko je spremljal The Slovenian Youth Orchestra, ki ni imel zavidljive naloge – redko je prihajal v ospredje, a moral potrpežljivo čakati na svoje vstope in ritmično natančnost. Predstavil se je z Bernsteinovimi Tremi plesnimi epizodami iz muzikala On the Town, kjer bi morda taktirka Živa Ploj Peršuh lahko narekovala bolj poletne tempe. Dodaten problem je predstavljala ozvočenost, ki je, kot ponavadi, razkrivala v zvenu orkestra več težav, kot bi jih sicer zaznalo uho. Sicer je bila spremljava večinoma solidna, mestoma negotova v začetnih tempih. x
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It was precisely here, in the unforced linking of individual songs, through which she opened a window onto the time of the Weimar Republic and partly also onto Broadway, that she proved at her strongest, able to connect the present moment with the painful experiences of the past.
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