Natalia Lavorkadi is great in the Carnegie Hall »PopMatters
“Welcome to my living room,” says Natalia Lavorkadi at some point from the Carnegie Hall stage. With this greeting, 20 songs of its ammunition, and some famous friends, throw Lafourcade Intimate In the New York City Hall, it is clear that she touched a bit of surprise because she is the distinguished distinguished artist.
Although Lafourcade has had an international profession in the pop star and many visits since she was a teenager, the past ten years have seen her in a rich and non -majestic stage in particular in her career. Lafourcade won the largest Latin Grammy of an artist, among other awards. The results of her long career were beautifully represented in October 2022 amid the yield of gold and velvet in Carnegie.
After the introduction of a piano without words, Natalia Lavorkadi gently disappears at night to the sound of “De Todas Las Floris”, the title of her latest album in the studio. The song is a great way to start the show. It builds in strength, but even when it is built in severity, it is still a nice swing, like Bossa Nova Classic.
The distinctive comfort of “El Lugar Correcto (right place) again wrapped the beautiful Lafourcade sound with lower escort of piano, electric guitar and choir. “Sorry if I cried, I cried, I cried during the dance / I had old pain to deal with it from this past / then I went back to this necessary silence / to hear the heart talks about the truth / and the right place now.”
With “Caminar Bonito (Walking Beautiful)”, Lafourcade adds to the slow romantic Bolirus law. It raises the level of display energy through the samba rhythms that give up “Mi Mandra de Qureer (my love) and” Canta La Arena (Song of the Beach) “.
The first guest of Natalia Lavori is David Bern, who reads some of the songs translated into “MUERTE (Death)”, and thanked the death for waking us to the joys of life. Here, as in the release of the album, The Music reaches the euphoria and anarchy, which celebrates literally and metaphorically life. At the actual party (which you attended), Lafourcade dances directly via the theater in a huge black dress with Bern. “I thank death / for my teaching to live / for my invitation to go out / to decipher luck well / take my hand firmly / fill life.”
After the festive song, Claarite falls alone in embracing Cumulus-Cloud for the Bolero “CIEN AñOS (100 years)”. Lafourcade jumps to the “LO Que Construiimos” comics from the vast sounds of the old Mambo hall.
Jorge Drexler comes to the theater for “Ya No Vivo Por Vivar”, which is the Natalia Lavori Dueto in its record Un cardo por mexico, first volume. Here, the excessive romantic song he originally achieved by the singer and songwriter Juan Gabriel is made to this rare animal, the path of fun and exciting love. Drexler highlights this amazing, and both singers are close to laughing because their complex and family words stumble on each other, such as the famous Brazilian stars Tom Jobim and Alice Regina on “Agas de Marsho”.
This leads to “sensitive) pain (my soul) Mossas Albums, where I played with the Los McCurnos voice duo. Here, this song about finding a soul friend is a quiet Poliro, full of additional devices but keeps a feeling of wonder and joy. “If I find a soul like me / How many secret things I tell him?
Then comes one of the most prominent emotional events of the ceremony: 94 -year -old Omar Bordondo enters to sit together with Lavorcid on Grand Ratan chairs. The incredible singer shows that she has not lost anything about her attractiveness, her ability to give passion and a wonderful melody. The duo “Tu Me AcumbroCte (I have been accustomed to)” an old song from Lost Love. Despite the sad songs, the bright singers seem to wander around each other because they enjoy the narrator’s accurate memory. The song is the definition of the Portuguese word SodadeIt is an appreciation of beautiful sadness, nostalgia that brings both smile and tears.
After Portugino put a smile on everyone, she left the theater, Natalia Lavorid’s leaving to treat her strike “Hasta La Raíz” with her amazing traditional rhythm on an audio guitar and building a layer of layer of devices.
Then the band is launched in another song from Huapanga, which is an extended version of the anthem to its original condition, “Mi Tierra Veracruzana”. As in other versions of music, the vibrant rhythm begins from Veraruz with a single Sharanga, a Ukele -like tool. The rhythm comes, and the tools continue to build on a poem for the culture and natural beauty of Vericrose. This version allows the players to make a series of single players and two dancers with wooden shoes to rid the folkloric rhythms.
While living albums are often seen as wild and woolen explorations of the artist – long ago on raw energy, but with less polishing than the registration studio. However, Natalia Lavuradi’s album is a pure recording that one can quickly understand. Carnegie Hall audience is quiet and excited, with applause at the end of each song. Listeners must love this opportunity to get rid of the beloved Natalia Lavorkadi’s songs and spend an intimate evening with this generous spirit.
