With divas we find ourselves in the stratospheric realm of stardom. Icons like Maria Callas, Marlene Dietrich… made people talk. When we think of divas, we immediately think of class and controversy. Opera singers were the first divas admired by the Italians for their high register. It was also first used for celebrities.
Diva behavior, on the other hand, has a rather negative connotation. Maria Callas was a great singer and perfectionist, but was known for her whims and caprices. Fascinating for the outside world. The public needs unreachable idols.
'Cabaret Diva' is built around songs that revolve around the theme of love. Clashing emotions that are expressed in the chosen repertoire with a wealth of emotions: intimate versus exuberant. Lissa Meyvis moves with refreshing sensuality in a richness of atmospheres and colors. She doesn't need grand gestures or flourishes; sobriety can be just as impressive. Her great love lies with opera. With great zeal for conversion, she tries to win everyone over to the world of classical music. Many famous arias pass by like candies in review. To please a broad audience, this production is an amalgam of opera and cabaret. She is accompanied by Lester Van Loock piano; Tom Willems guitar; Janos Bruneel double bass and Peter Ploegaerts drums.
The diva appears in a stunning black dress and opens with the audience warmer 'Cabaret' from the same-named American musical romantic drama film, we're in 1972. Following this the spicy 'La diva de l'empire' by Eric Satie. An early attempt by a European composer to tackle the emerging American jazz. 'Empire' also refers to a famous music hall on Leicester Square in London. The covered promenades were breeding grounds for vice and prostitutes. For Parisian listeners, this formed a lustful background for the slightly naughty text. Sensual and seductive performed by diva Meyvis.
Then immediately the great work 'Casta Diva' - the chaste goddess - from the opera Norma by Bellini with sober piano accompaniment. The high priestess Norma is torn between her love for the Roman Pollione and her loyalty to the druids. One of the great success arias of Maria Callas with impressive note garlands. Lissa's voice rises effortlessly to the heights, caresses the notes, holds them. To not only understand the words but also bring them to life on a stage is the art.
After the drama a comic aria 'Art is Calling for me' from The Enchantress by Victor Herbert. One of the princesses wants to get the prince's attention by becoming an opera singer. Here Lissa Meyvis goes all out and exposes her comic talent. With the next song she returns to the deeper core of our human emotions like a rainbow of human life. 'Voila', the sweeping number with which French singer Barbara Pravi came second in the song contest in 2021 after Måneskin. The audience often doesn't realize that behind the performer there is also a human being. With 'J'ai deux amours' a tribute is paid to the black pearl Josephine Baker.
'I Got Rhythm' the energetic song by George and Ira Gershwin was created for the musical Girl Crazy. It evolved into a jazz standard. The number comes fully into its own with the contribution of the swinging instrumentalists. Songs from the home country are not lacking either. 'Dag vreemde man' by Ann Christy who died too young. Music Willy Crombé and Mary Boduin wrote the beautiful lyrics. Lissa Meyvis pulls the text towards her and delivers a unique interpretation defensible and fragile.
Then she sets her sights on the Dutch repertoire with ''t Is over', a concise song by cabaret artist Jenny Arian. The end of a relationship followed by 't Is begonnen' by Yentl en de Boer, a kind of reply. A spicy text that gets the necessary color variations in her singing and presentation.
'I have Confidence' from The Sound of Music. At music school Meyvis learned to have confidence to stand on a stage. The first part ends with the contemporary number 'The Girl in 14G' written for American actress and singer Kristin Chenoweth in a beautiful Dutch translation by Ann Van den Broeck. A number where a classical singer can go all out with elements from among others the opera Tristan und Isolde and the aria of the Queen of the Night. Mimeticly delightful and singing-technically to showcase her talent.
After the intermission she pulls out 'The Laziest Girl in Town'. One of the few musical numbers in a Hitchcock film and sung by nightclub singer Charlotte Inwood (Marlène Dietrich). In her own inimitable way she performs the song. Lazy Lissa takes her time and sits among the audience while double bassist Janos Bruneel delivers an impressive solo.
In 'Sweetest Devotion', a number by Adèle she shares the intense and unconditional love for her children. Then she reserves a series of numbers from the Dutch cabaret repertoire. The focus is on a very specific period, the heyday of Dutch song starting with 'Oorlog' by Toon Hermans. Very timeless. The repetitive beauty of the refrain is transcendent and enchanting. Then comes work by three divas from our neighbors to the north. 'Zachtjes breken' by Adele Bloemendaal. In a relationship, cracks and frustrations pile up. Subdued anger.
Followed by the delightfully absurd number 'De Non' by Cabaret Lurelei from 1964, sung at the time by Jasperina De Jong. Devout nuns who enjoy rolling a joint. Lissa tears through the refrain 'Roll another one' with the curves of her vocal organ. Next comes the spicy and kitsch 'Hoezenpoes' by Conny Stuart with wonderful rhythm changes and a sparkling lyric. It is commendable that such beautiful and representative repertoire is not lost. Then it moves back to the English-language repertoire with 'I Don't Care', a number by Judy Garland. A child star who developed into a true diva with quite a few quirks. An outspoken woman who refuses to be labeled, followed shortly by 'All that jazz', a number by her daughter Liza Minelli.
Quite different is the song 'Papa can you hear me', music by Michel Legrand. The number was written for the film Yentl, directed by Barbra Streisand who also played the lead role. Lissa Meyvis sings this in a fragile way, knows how to grasp the intangible. With only piano accompaniment, touchingly beautiful.
Followed by 'La vie en rose' by la môme Edith Piaf. A triumph of love. In contrast, 'Je suis malade' by Lara Fabian. How a broken heart can cause such heartache. Lissa's interpretation sends shivers down your spine. As the final song 'Life is a Cabaret''. A better closer after all these different moods that passed through the revue could not be found. It wraps everything up beautifully.
I'm repeating myself. It was again a pleasure to enjoy a beautiful intimate concert with diva Lissa, surrounded by musicians who let her shine.
There is but one word for it: starstruck.
- WHAT: Cabaret Diva
- WHERE & WHEN: Fakkeltheater Antwerpen, Monday 22 January '24
- WHO: vocals: Lissa Meyvis; piano: Lester Van Loock; guitar: Tom Wilems; double bass: Janos Bruneel; drums: Peter Ploegaerts
- PHOTOS: © Studio Dongo