Post by sugarsnspice on Mar 25, 2005 11:42:23 GMT -5
Genuine collaboration in `Queens On Fire'
Manila Bulletin, February 19, 2005
By JOJO P. PANALIGAN
Contrary to expectations, last week's "Queens On Fire" concert at
the Ultra headlined by Asia's Songbird Regine Velasquez and Concert
Queen Pops Fernandez was a genuine collaborative effort that cast
neither star in bad light. In truth, the two-night Valentine concert
actually put to rest the seeming rivalry between them with a
repertoire that not only made them work together but also bring out
the best in each other.
First, the expected: Fast tunes remained Pops' forte as she sang and
danced to the Beyonce ("Naughty Girl," "Lose My Breath" and "Crazy
In Love") and Christina Aguilera/Britney Spears ("Dirrty" and "My
Prerogative") medleys. Though Filipino's don't usually regard upbeat
songs as measure of singers' capabilities, doing so actually demands
a different kind of discipline that Pops has mastered and has, in
fact, earned for her the title she has held for years. Already in
her '40s, the Concert Queen still do those buttwriggles well, much
thanks to her fit and shapely physique emphasized in costumes that
almost always showed off cleavage and legs.
As it was not entirely her show, and to stay true to the concept of
symbiotic showcase, the Concert Queen likewise dipped her toes in
slow love songs that people would normally expect from someone like
Regine. Well-applauded were Pops remake of "You Take My Breath Away"
and a medley of tunes done originally by Filipino male singers
(Wency Cornejo's "Hanggang," Richard Reynoso's "Di Ko Kaya" and
South Border's "Ikaw Nga") which she (not quite accurately during
the second night) intro-ed as ones that delve on heartaches.
Big bad ballads that required belting were Regine's bailiwick
meanwhile. Though she only did a smattering here vis-à-vis her solo
concerts, the ones she chose in "Queens On Fire" were marked
canvasses of vocal range. Wisely skipping sung-to-death numbers
as "Minsan Lang Kitang Iibigin" and "Say That you Love Me," the
Songbird settled instead for Fantasia Barrino's "I Believe," the
Metropop winnerturned-jingleturned-radio hit "Shine" and South
Border's "Wherever You Are" (rearranged to include a rhythm
section).
To complement Pops, Regine paid tribute to new Filipino female
vocalists by doing MYMP's "A Little Bit," Session Road's "Suntok Sa
Buwan" and Kitchie Nadal's "Wag Na Wag Mong Sasabihin" that stood
testament to artistic vitality and versatility. The latter,
particularly, came as mild surprise considering its rock orientation
but one that, to her credit, Regine gave justice to. "Wag Na Wag"
was the big sing-along favorite in the show what with "Lovers In
Paris" (where it was used as theme song) phenomenon still fresh in
people's minds.
We also saw Regine doing more dancing in "Queens On Fire" – a rare
side of her that we suspect was encouraged by the Concert Queen's
participation. Though Regine can never hold a candle to Pops in this
department, she gamely did her part cornball-style that endeared her
even to the latter's fans.
The highlights of "Queens On Fire," though, were still the
production numbers. Who can forget their tongue-incheek, Vegas-
version of "Oops I Did It Again" that ended with them exposing naked
upper bodies a millisecond before the lights went out? Or the "Sana
Maulit Muli" and "Kahit Isang Saglit" duet each did separately with
guest Erik Santos — only with all three and both songs meeting in
the end? Or the flamenco-tinged "Have You Ever Really Loved A Woman"
that spelt exotic and sensual?
Or (for those who stayed on) the encore number that had Regine and
Pops throwing all caution to the wind while doing '80s
favorites "Gloria," "Girls Just Wanna Have Fun," "What Have You Done
For Me Lately," "I'm So Excited" and "Telephone?" Indeed, these not
only brought back nostalgia but harkened back to a time when Pops
and Regine were still upstarts. Note that both debuted on the music
scene in the early `80s with just a year and a half between them.
The genuine onstage rapport (cemented by shows they've done together
in the U.S., Italy and Japan) the two had also contributed to the
show's success. Like regular girls in a pajama party, they bantered
over and ballyhooed subjects ranging from shopping to sex lives.
Both publicly high profile the audience didn't miss a beat and
instead felt privy to innuendoes the two good-naturedly gave of each
other.
In the end, "Queens On Fire" not only bore testament to the
adage "two heads are better than one" but to friendship not even
stardom, rivalry and goading followers could mar.
Manila Bulletin, February 19, 2005
By JOJO P. PANALIGAN
Contrary to expectations, last week's "Queens On Fire" concert at
the Ultra headlined by Asia's Songbird Regine Velasquez and Concert
Queen Pops Fernandez was a genuine collaborative effort that cast
neither star in bad light. In truth, the two-night Valentine concert
actually put to rest the seeming rivalry between them with a
repertoire that not only made them work together but also bring out
the best in each other.
First, the expected: Fast tunes remained Pops' forte as she sang and
danced to the Beyonce ("Naughty Girl," "Lose My Breath" and "Crazy
In Love") and Christina Aguilera/Britney Spears ("Dirrty" and "My
Prerogative") medleys. Though Filipino's don't usually regard upbeat
songs as measure of singers' capabilities, doing so actually demands
a different kind of discipline that Pops has mastered and has, in
fact, earned for her the title she has held for years. Already in
her '40s, the Concert Queen still do those buttwriggles well, much
thanks to her fit and shapely physique emphasized in costumes that
almost always showed off cleavage and legs.
As it was not entirely her show, and to stay true to the concept of
symbiotic showcase, the Concert Queen likewise dipped her toes in
slow love songs that people would normally expect from someone like
Regine. Well-applauded were Pops remake of "You Take My Breath Away"
and a medley of tunes done originally by Filipino male singers
(Wency Cornejo's "Hanggang," Richard Reynoso's "Di Ko Kaya" and
South Border's "Ikaw Nga") which she (not quite accurately during
the second night) intro-ed as ones that delve on heartaches.
Big bad ballads that required belting were Regine's bailiwick
meanwhile. Though she only did a smattering here vis-à-vis her solo
concerts, the ones she chose in "Queens On Fire" were marked
canvasses of vocal range. Wisely skipping sung-to-death numbers
as "Minsan Lang Kitang Iibigin" and "Say That you Love Me," the
Songbird settled instead for Fantasia Barrino's "I Believe," the
Metropop winnerturned-jingleturned-radio hit "Shine" and South
Border's "Wherever You Are" (rearranged to include a rhythm
section).
To complement Pops, Regine paid tribute to new Filipino female
vocalists by doing MYMP's "A Little Bit," Session Road's "Suntok Sa
Buwan" and Kitchie Nadal's "Wag Na Wag Mong Sasabihin" that stood
testament to artistic vitality and versatility. The latter,
particularly, came as mild surprise considering its rock orientation
but one that, to her credit, Regine gave justice to. "Wag Na Wag"
was the big sing-along favorite in the show what with "Lovers In
Paris" (where it was used as theme song) phenomenon still fresh in
people's minds.
We also saw Regine doing more dancing in "Queens On Fire" – a rare
side of her that we suspect was encouraged by the Concert Queen's
participation. Though Regine can never hold a candle to Pops in this
department, she gamely did her part cornball-style that endeared her
even to the latter's fans.
The highlights of "Queens On Fire," though, were still the
production numbers. Who can forget their tongue-incheek, Vegas-
version of "Oops I Did It Again" that ended with them exposing naked
upper bodies a millisecond before the lights went out? Or the "Sana
Maulit Muli" and "Kahit Isang Saglit" duet each did separately with
guest Erik Santos — only with all three and both songs meeting in
the end? Or the flamenco-tinged "Have You Ever Really Loved A Woman"
that spelt exotic and sensual?
Or (for those who stayed on) the encore number that had Regine and
Pops throwing all caution to the wind while doing '80s
favorites "Gloria," "Girls Just Wanna Have Fun," "What Have You Done
For Me Lately," "I'm So Excited" and "Telephone?" Indeed, these not
only brought back nostalgia but harkened back to a time when Pops
and Regine were still upstarts. Note that both debuted on the music
scene in the early `80s with just a year and a half between them.
The genuine onstage rapport (cemented by shows they've done together
in the U.S., Italy and Japan) the two had also contributed to the
show's success. Like regular girls in a pajama party, they bantered
over and ballyhooed subjects ranging from shopping to sex lives.
Both publicly high profile the audience didn't miss a beat and
instead felt privy to innuendoes the two good-naturedly gave of each
other.
In the end, "Queens On Fire" not only bore testament to the
adage "two heads are better than one" but to friendship not even
stardom, rivalry and goading followers could mar.