Stacey Kent

The Stacey Kent

German: Showcase with Stacey Kent in Fnac Montparnasse (Paris, France). SACEY KENT (in esclusiva per l'Italia). Discover the latest publications and all the other articles by Stacey Kent. Stecey Kent is back with her extraordinary band to pay tribute to the great songwriter Richard Rodgers. STEACEY KENT dal vivo in Italia as of due date imperdibili.

The Stacey Kent

A sunny voice, light, light and never banal: a song that expresses a serenity of rare beauty. In his music he combines the swings of his American origins with European stylistic and linguistic influences. With a dozen albums, a Grammy Award 2009 entry and an average of over 250 concerts per year, Stacey Kent is one of the singers of the present.

After Raconte-moi, an French-sung record and the latest Dreamer in concerto, a recording at La Cigale in Paris, the last one is The Changing Lights: a pleasant surprise of Stecey's love for Brazilian music.

KENT STACEY

A sentence that Stacey Kent could undoubtedly make her own, because at the age of 14 the American singer discovered the infinite charm of the Getz/Giberto albums, the historical encounter between jazz and bossa nova, after which nothing would ever be the same again, and since then she has not let go of the passion that binds her to Brazilian music, like her tenth record "The Changing Lights", which is interspersed with the famous "Saudade".

Stacey "In this record, but in general in my world, this word is my cornerstone. With this new CD Stacey Kent achieves an even higher degree of tone accuracy and sensitivity in expression. Consistent with the group that accompanies her, and without giving in to the temptation of protagonism or abundance, in this art of singing that distinguishes her from many of her contemporaries, she reaches new heights of calm, intensity and clarity.

Stacey Kent's voice, at the height of his suggestive power, reveals itself here more than ever in the great and complex nudity of his expression.

OLTRE IL FASCINO

The Stacey Kent: In the game of music, Bari, the Forma Theatre, 28. November 2013. Caetano Veloso says it and Stacey Kent makes it his own, after what was seen and heard in the Forma Theater in Bari, for the opportunity that overflows in the first movement and is beautifully full in the second: a rarity, here nearby.

The introduction is entrusted to the hosts: first Donato Romito and then Roberto Ottaviano, each president and artistic director of the association Ali Chioco del Jaza, which for several years has been offering beautiful surprises in the capital of Puglia. And a novelty, at least for the public of Bari, is Stacey Kent, despite his rich palm trees of musical successes and luxurious honors.

The song caresses and intrigues, the elastic voice expands in a series of naked notes and discards all the sumptuous tricks and neo-baroque spirals of decoration: it is truly personal, and that surprises the audience all the more. At his side is a carefully selected group, which also breathes the artistic and lively connection with the multi-instrumentalist Jim Tomlinson, the tenor and vocal saxophones, the flute and also the guitar: Josh Morrison on drums, who proves a lot of knowledge about the Brazilian percussion repertoire, Jeremy Brown on double bass and Graham Harvey on piano.

She sings nonstop, Stacey, but she does not shy away from words that cross many seas, alternating between English, Portuguese, French and Italian. He continues with the lead track of his latest record to continue to draw from the record "Breakfast on the Morning Tram", with the caresses signed by Serge Gainsbourg in Ces Petits Riens and Tomlinson, which perfectly oppose the song.

Then there is the beloved Brazil: O barequinho, the waiter, Oh waiter, another Tomlinson signature in the text of the Japanese-British writer Kazuo Ishiguro. Stecey picks up the guitar and makes it clear that the lessons of the Brazilian masters have hit the mark, also unleashing a batch of good craftsmanship and first intoning the dreamer and then the bright and touching How Insensitive, who also thrives in Tomlinson's tenor with his rhythmically mischievous phrasing.

The step is short to get to the hit One Touch Samba, where the singer shows even more how much she is the master of the stage. Face I Love and Water of March mark the point, and Jobim's song vibrates with an unprecedented joy at the leader's ever more vibrant voice.

Charlie Chaplin's grin then emerges from the magic cylinder that opens like a chamber piece of music in close dialogue between Tomlinson and Graham Harvey to set in motion all the lyricism that Kent's voice can paint, and dives into the notes of O Bêbado and Equilibrista.

Finally, Stacey welcomes - through the inspired notes of So Nice - his mentor in the Latin American sound universe: Marcos Valle. The encore on the edge of the razor's time and the rightly hasty exit to allow access to the second movement do not weaken the loud and confident applause of Bari's audience against a rising stars that had not been heard for some time.

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