While Karen Zacarías discussed this with compatriots in the national Latinx Theatre Commons, she shared how frustrating it is to hear critics intentionally, and derisively, write off disparate forms of Latino art as “telenovelas.” But when that stereotype gets confused for the truth, Latino art is hurt the most. The behemoth stage also includes walls of video screens that envelop the room – Adele's expressive eyes and luminous smile made frequent appearances – and sliding platforms for band members.Īdele adeptly sprinkled the 20-song setlist with some of her own favorites, such as the soul-pop vocal triumph that was "One and Only," along with gotta-plays "Rumor Has It," which pulsed with red lighting, and the eternally aching "Someone Like You."īut she also infused her song selection – and placement – with deliberation.Ī boisterous "Rolling in the Deep," its fist-pounding march complemented by Adele and her three backup singers smacking their hips, seemed like an obvious finale.Some who are unfamiliar with the culture and artistry of telenovelas tend to look down on the art form, seeing each overt reaction and prolonged dramatic pause on screen as tacky. While the show opens quietly, with only Adele and Wortham onstage, its eventual introduction of her six-piece band, and, during highlight "Skyfall," a 24-piece string section, makes clear that despite the spectacle, the essence is the song.Īdele remained in the same dress throughout the show, only leaving the stage briefly after about 90 minutes to make way for the production elements that accompany "Set Fire to the Rain" – a stage-length waterfall, fire clashing with it from the floor and a drowning piano.
Party like a rock star: But get ready to pay for VIP packages and perks On every song, whether a newcomer ("I Drink Wine," from her Grammy-nominated album "30"), or catalog classic ("Send My Love (To Your New Lover)," performed under hot pink lighting), Adele's voice was as impeccable as her sculpted eyebrows and French manicure. While there was plenty of audience interaction (fans in the lower level were treated to her wading out to chat before belting "When We Were Young" from the aisles), Adele clearly wanted the focus of this show to hinge on musicianship.
Emotion nota musical full#
She attributed her chattiness to nerves, but any Adele acolyte knows that she could spend the full two hours of the show delivering hilarious tales laced with profanity. Her look was pure glam – a figure-hugging dark gown (with black socks that she gleefully exposed) and luxurious honey-colored hair spilling onto her bare shoulders.īut the vibe was "have a few pints at an English pub" – bawdy, emotional and completely unscripted ("Were you at a pool party?" she teased some latecomers). What is apparent about "Weekends with Adele" is that every show will differ thanks to her unfiltered, casual interactions and storytelling. It was the first of several mea culpas for stiffing the multitude of fans who had traveled from around the world to attend her initial residency.īut Adele was blatantly sincere when she said at the end of the show that canceling, " was the worst feeling I've ever had, but the best decision I ever made." "Thank you so much for coming back to me," she told the crowd after singing a sublime "Easy on Me," performed as she sat next to pianist Eric Wortham II. Rematch?: Beyoncé and Adele will again vie for top prizes at the 2023 Grammy Awardsīetween the gleaming video elements commandeering the length of the massive Colosseum stage and her vocal curlicues on songs such as "Take it All" from 2011's sophomore album, "21" and the gently galloping hit, "Water Under the Bridge," Adele's presentation thrilled.
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