Close to the frozen Borderline

Nico Tribute 70/20 Volksbühne 17/10/08

Oktober 20th, 2008 | 2 Kommentare ...  

Close to the frozen Borderline
Marianne Rosenberg - Foto:Tanja Krokos


Kommentare / Comments:

    1. nona  

    göttlich. Das was ich befürchtet hatte …, guuut, also doch nix verpaßt!

    Bin kein Fan von Nico aber habe einen für immer _sehr_ bleibenden Eindruck von einem grausamen Gig in Rotterdams beeindruckendem Opernhaus, in dem sie offenbar im Rahmen des Pandoras Box-Festival bewußt als Kontrast-Programm eingesetzt wurde.
    Und teilweise ähnliches Unverständnis/Desinteresse bei der nachfolgenden Generation ausgelöst hat, wie hier in den letzten Jahren ähnlich gegen den Strich eingesetzte Sun City Girls, Alan Vega etc.

    Damals bin ich vor Mitleid mit dieser unsäglich gequälten Kreatur zerflossen ohne das Konzept zu verstehen.
    Heute denke ich, es sollte den versammelten ach so gruftigen No-Wave-Punx der Spiegel vorgehalten werden, was _echter_ Sterbenswille ist ;->

    Ob das den so gebuchten Künstlern vorher auch nur annähernd bewußt ist?


    2. Ursula  

    It’s commonly understood that the role of critic inevitably involves accruing the right kind of facts. However, the abysmal lack of attention to basic detail in the above article begs the question: was David Selden even part of the audience at the magical and evocative evening, Nico 70/20, presented to us by Lutz Luul Ullbrich, friend and colleague of Nico. It seems Selden either hit the bar or left early, relying on preppily acerbic witticisms to pep up an otherwise pedestrian response. So just for the record: the ‚jazz nonentities whose name seemed to matter to an older section of the audience‘ might be forgiven for finding a faithful and appreciative following in those who understand what the name ‚Marianne Rosenberg‘ means. As Germany’s best loved and most acknowledged cabaret artist, Rosenberg’s louche professionalism accompanied by wry and sometimes melancholic engagement with her audience, might read as ease to those who are unaware of the cultural and musical context in which she sings. Further down the text Selden made the most obvious mistakes: Fellini is confused with Bausch in the Golden Hunger’s carefully constructed set, put together by James Young who performed, recorded and toured with Nico for the last seven years of her life. The ‚mime‘ sensitively echoed the slowed movements of the girl in Fellini’s classic, La Dolce Vita, in which Nico had a resonant role. Selden’s glaring lack of visual literacy is risible, considering the unforgettable and iconic stature of this seminal movie, intrinsically linked to Nico. The Golden Hunger used lines from the film in a set which did not, as Selden writes, include Marianne Rosenberg – the artist he refers to as having ‚European mittel‘ is British, as indeed are the whole ensemble. (Such details, if not found in the programme, were surely audible in Lutz Ullbrich’s introductions to each piece). Sentimental by Selden’s standards, perhaps, but for those of us who were there, Nico 70/20 was an intelligent, warm and evocative tribute by artists and friends to the ‚dead junkie‘ some of whom who knew, respected and perhaps even loved her.

    Perhaps the modest setting and idiosyncratic choice of artists ranging from the enigmatic and gifted Soap&Skin to the compelling Marianne Enzensberger, daughter of celebrated German poet Michael Enzensberger were a little too human, too atmospheric in their interpretations of Nico as artist rather than just another ‚dead junkie‘.