Tony bennett lady gaga radio city music hall
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The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Bennett fully vented that anxiety before hitting the song out of the ballpark with a climbing finale.īut the ultimate moment of truth came with his performance of “Smile,” and its declaration, “You’ll find that life is still worthwhile.” “Life” was declaimed, followed almost immediately by “still,” shouted as a triumphant affirmation.Necessary cookies are absolutely essential for the website to function properly. In “How Do You Keep the Music Playing?” those words are the confession: “The more I love the more that I’m afraid/That in your eyes I may not see forever.” Mr. Bennett has an unerring ability to spin a song around its key phrases. Bennett, who brought his usual heart and optimism to signature songs like “How Do You Keep the Music Playing?” and “Smile.”
Her most ambitious interpretation, of Billy Strayhorn’s “Lush Life,” was a sprawling, high-strung psychodrama that swooped from mood to mood.įor all the flash and synthetic sexiness Lady Gaga brought to the stage, musically the evening belonged to Mr. A bright, aggressive “La Vie en Rose,” sung mostly in French, demonstrated her formidable vocal skills. During Cole Porter’s “Ev’ry Time We Say Goodbye,” she remarked enigmatically that saying goodbye to yourself was not a good idea. She interjected spoken commentary into a couple of songs. In a quieter mode she resembles Natalie Cole, but with a brassier edge and a more freewheeling approach to tempos. Her singing voice is almost as mutable as her provocative fashion plate image. In her first solo segment, Lady Gaga’s back-to-back renditions of “Bang Bang” and “Bewitched, Bothered and Bewildered” were fraught with drama. Bennett’s mature saloon style couldn’t find a comfortable blend. The program was really two solo sets skillfully sandwiched together with duets in which Lady Gaga’s bright, saucy Broadway-trained voice and Mr. The chemistry between the performers in this Cheek to Cheek tour is noticeably different from the cuddly granddad and granddaughter intimacy of their videos.
Behind them was a big band augmented by a string section playing sumptuous arrangements, conducted by the pianist Mike Renzi. Shape-shifting from approximations of Mae West to Marilyn Monroe to a glittery cat-suited vamp, she twirled this or that accouterment like an old-time burlesque performer. Around him fluttered that irresistible force, Lady Gaga, 29, an eccentric living bauble, in a succession of extravagant showgirl outfits and wigs. Bennett embodied the patriarch of American popular song he has been for the last two decades. With his customary grace and humility, Mr. Bennett, a living monument at 88, who, when he moved across the stage, proceeded slowly, cautiously and with dignity. An irresistible force and an immovable object: that would be Lady Gaga and Tony Bennett on Friday evening at Radio City Music Hall where they sang more than 30 standards, separately and together, before a respectful multigenerational audience that tilted older.