As the format considered is no stage show just as contradictory as the Swedish krogshowen. In its very essence, it is a big misunderstanding. The way it puts the people who conquered idolstatus in the middle of a bunch of devalues the concept of a ”pop star”. The setting requires of the event’s central figure that it is at the same time extravagant and personal. The audience want to get to know both distanced admiration and conciliatory relationship. The latter becomes especially important at the end, when the buzz in the skull after avecen begins to drown out the entertainment on the stage.
on the basis that the person who bears the name of the poster is now finally going to show ”his true self”. To trettiofemåriga mångsysslerskan Sanna Nielsen selected to allow the well-known grip to give name to debut at Hamburger Börs could be interpreted as an expression of internhumor. Grew up in showbiz, a singer by profession, since childhood, know of few swedes as well as she is. Script by Camilla Läckberg and costume design by Lars Wallin is her foray in the genre, so ”right” on paper, it could almost be satire.
it seems Now, however, ”My True self” still be very seriously. Tabloid reports that ”analysts in the industry” estimates, the total price for her glitter and fjäderdekorerade wardrobe for the evening to a million. The main character himself promises ”glamour” when she, after inledningsnumret, Gladys Knights ”I feel a song in my heart”, for the first time addresses the audience. Perhaps she has fantasized about get to take out the turns after having been nailed in the floral folklighetsfack which is to lead the ”Sing-along at Skansen”. Just a shame that the producers on the Stock market does not seem to have felt the corresponding desire to empty the pockets. Light and set design do not agree at all the same shut up-level as the bombastic clothes. The feeling gets a little bit of the Koh-I-noor-diamond accidentally ended up on the Gekås in Ullared.
whatsoever to reason about clothing and image. And can you admit that large parts of the criticism Sanna Nielsen received through the years has its foundation in a konsumtionsbaserat klassförakt. An artist who has the nerve to stand on the stage in the Eurovision song contest in the outfiter from snabbmodekedjorna is at the same time clueless as brave. In löpsedelsorden about ”Sweden’s oldest tjugoåring” is a smärtpunkt which carries a piece. But when the majority of the repertoire consists of interpretations of Fleetwood Mac, Donna Summer, Michael Jackson and Destiny’s Child bottoms she still is not really.
the Point of these musical history giganters deed is that they managed to combine a powerful expression with an underlying sadness. Sanna Nielsen’s true, I can accommodate, so far, not the darkness that really is required for her to live up to the intention to be both a diva and vulnerable. The result is a performance that most offer entertainment for anyone who likes entertainment, but the shits a bit in the music. In other words, a completely ordinary dinner show.