Mogu People Curiosity

Concert or seance?
This is the question after seeing "A life along the borderline," the show / tribute to NICO Sunday night at the Teatro Comunale di Ferrara. We have seen
to a real concert, played and sung with transport by NICO who has really known or, as the young Soap & Skin, viscerally must have loved the post. I mean that most often assembled from a cast-dynamic promotional labels here-it was a friendly evening to regret the good times and friends gone. Forever.
A brilliant song, like Easter, where, for believers, we celebrate that Jesus died for our sins. And looking around the other night, with many also accompanied by 45 year old former punk teenagers, we felt a bit 'like this: to pay tribute to those who incarnate (up to the extreme) our sick soil, Our difficulties of being alive. That somehow saved us, sacrificing himself for us.
And there is no room for the "mask" Nico, the myth, for being iconic. No picture to remember, no biographical presentation, no nods to gossip about Nico addict who forgets the words of his songs, which all have Nico always had to tell some stories deafness. No form, but only his musical soul. And we deliberately exclude the most famous pieces ("Chelsea Girl", "These Days" or pieces with the Velvet Underground), which probably embody the very mask Nico, how the media reproduce the still there.
But we prefer the soul of his most obscure and intimate. And the soul, and is alive. So alive, still evolving. With new arrangements, which the British had criticized the first date of this show. But I really enjoyed the music of the proposed update of NICO.

I will not review a piece by piece, but some things remain in my memory forever.
"Afraid" (from "Desert Shore", 1970) sung by Mark Linkous, the front-man of Sparkehorse. I thought that after the cover of Antony & the Johnson could not do better. But this sad and desolate Charlie Chaplin gave us a version aching, intimate and heavenly accompanied dal quartetto d’archi dell’Orchestra del Teatro di Ferrara.
“My hear is empty” (da”Camera obscura”, 1985) l’unico pezzo senza band, cantato e suonato da sola al piano dalla rivelazione dell’anno: la 19enne Soap&Skin. Lei manco era nata quando uscì questo disco. Non avrebbe avuto senso eseguirla con “gli altri”, perché è evidente che la ragazza ha vissuto questo disco fuori tempo massimo, nell’intimità della sua cameretta, quando “gli altri” della sua età ascoltavano Madonna. Una piccola Nico disadattata. Intimorita nel essere ammessa su quel palco. Basta pensare a come fugge via all’ultima nota prima che parta il suo deserved applause. Or in the final song, performed by all, where is held by force by Peter Murphy which prevents it from running away in the darkest corner of the stage (see the 2:26 minute video attached), which makes the rest just fail. And what does it do? Look at all these great artists and claps with her hands, as if it were one of the public, as if the stage could never be his. Santa now!
"Mutterlain" (from "Desert Shore", 1970) sung by Peter Murphy, singer Bauhouse. A myth that pays tribute to a legend. And 'as if to celebrate his marriage to his corpse bride. Log onto the stage in black suit and throws rose petals with a dark intensity that makes you freeze the blood in his veins. The latest hunt them in the mouth, almost as if to suffocate and reach his beloved. Then he blows and flying petals carried by the soul of Nico awakened from this seance.
"The Falconer" (from "Desert Shore", 1970) sung by Lisa Gerrard. Judging dall'applausometro she is the most anticipated star of the evening. Enters with a smile dell'Avon promoter, with the usual dress Oscar night 1958 edition already raised in Milan and Rome's past, and a medieval headdress, a cross between Barbara Alberti and Rita Levi Montalcini. But enough of that first note comes out of his mouth (after countless attempts to posture), so that we understand that we are truly in the presence of an angel.
"Win a few" (from "Camera Obscura", 1985) sung by Mark Lenegan. Mark Lenegan for physical posture, voice, musical aptitude in my opinion, embodies the "masculine", even more than Bruce Springsteen. And it's moving like a man like that to come to terms with a piece, with an aesthetic, with a universe so blatantly feminine such as Nico and his own life. It 's like all men who have done wrong (by their very nature "male") I ask "excuse", with the deep voice of Mark and his sharp eyes.
I have not really liked the performance of Mercury Rev and Carmen .... Since it did not appear despite being mentioned among the cast in the poster.

rating: 5 stars (out of five). See yourself

the final piece of the video sung by all the artists on stage together:
http://www.youtube.com/watch?v=Xd9fQp9qh3Y