The duo Birds on a Wire or the art of recovery, at La Cigale

La chanteuse franco-américaine Rosemary Standley et la chanteuse-violoncelliste brésilienne Dom La Nena partent en tournée à travers la France. Elles étaient en concert à Paris, jeudi 27 février.

Is it because she learned to sing with her father, Wayne Standley, a native of Ohio, while interpreting standards of folk or country, that Rosemary Standley has such an appetite for covers? Is it because she studied lyrical singing at the Conservatory that the Franco-American woman walks so easily between genres?

In addition to the group Moriarty who made her known by composing an original repertoire based on a fantasized vision of American “roots music”, the young woman has multiplied projects dedicated to reinterpretation.

Whether with Love I Obey (2015), mixing baroque compositions and traditional songs; A Queen of Hearts (2016), dedicated to songs written for or by women; an album with the collective Wati Watia Zorey Band, paying homage to the Reunionese Alain Peters, or in duet with the Brazilian singer-cellist Dom La Nena, under the name of Birds on a Wire, with whom she had released a first eponymous album .

Playful dimension

Thursday, February 27, the pair with the surname inspired by a song by Leonard Cohen gave a sold-out concert in the Parisian hall of La Cigale, the day before the publication of a second opus, Ramages , confirming the eclecticism of a repertoire Latin trends encouraged by the contribution of the South American.

In the darkness, it is a traditional Catalan song – El cant dels ocells (“the song of the birds”) – which opens a concert whose purity dictates impeccable attention to listening. Behind his accomplice, Rosemary Standley advances in spectral appearance barely lit by the moon. The slow nobility of Dylan’s version of I Shall Be Released [ . . . ]

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