Belle du Berry

As a theatre and music reviewer coming out of a self – imposed sabbatical, I have been promulgated to the hurly burly of reviewing only twice in the past 18 months. The first performer to lure me back to the keyboard was the pop cabaret singer Rufus Wainwright – and now the second to nudge me is Belle du Berry. Both opportunities are occasions to relish, to shout about and indeed to write about.

I first encountered Belle du Berry in Paris in November last year. An impromptu tres last minute invitation to see Belle du Berry saw me running out of my apartment at break neck speed. Two metro lines later and a huffing and puffing, elegance thrown out the window dash down a rather dark lane led me to a night of cabaret performance par excellence. It was electric.

The first salient point to keep in mind when speaking about French music – whether that is opera, cabaret or music theatre is that text holds high status – equal to that of the music. When billboards advertise spectacles, the librettists or writer’s name is given equal billing.

The French adore their language and make no excuse for their passionate patriotism and protection of it, so when it comes to performance – the articulation of a lover’s predicament, a moment of ennui, or flight of fantasy - all become do or die moments. Belle du Berry is a mistress of storytelling. She spins the patter of her lyrics with a charming twinkle in her eye, a bewitching intellect and a voice that seduces like a gentle kiss.

On the night I saw Belle du Berry and her svelte band, the audience was quiet – religiously quiet. The amplification of the sound was muted and so this French chanteuse worked and coaxed and worked and coaxed her material to appease. This is a performer who works every note and every word on every occasion, but tonight she was working very hard.

For this Melbourne Recital Centre Salon series Belle du Berry chose a set from her album Quizz. The songs have a touch of lounge music, a touch of the sixties and seventies all tightly orchestrated and all full of wit and amusement.

In David Lewis, Belle du Berry has a co-star. David Lewis with trumpet or flugelhorn in one had, piano in the other gives the best meaning to smooth. Denis Henault-Parizel (Bass and guitar) and Remy Kaprielan (drums) are equally crisp but the overall feel is a cool texture.

Unfortunately this night Belle du Berry did not buzz like the Paris experience, but my regard remains in the quietly adoring category.

The MRC Salon in cabaret mode, ambient lighting and raised stage is one of the best configurations I have seen in this space. It works a treat.

Belle du Berry

Melbourne Recital Centre

Friday 27 August 2010 - Season closed