




Photos: Marlene Dietrich.

CONFUSING CABARET WITH INTIMATE “CONCERT OR RECITAL SINGING”
The overwhelming majority of Cabaret goers in the United States misunderstand the real meaning of the world Cabaret. They are confused by the great number of formulas, genres, styles and different kinds of Cabarets. Music halls, intimate singing and repertoires in intimate and cozy clubs in the United States should not be considered as Cabarets and Cabaret repertoires joints. It disturbs me to see and hear well-established American singers, particularly American female singers associating Broadway with Cabaret. Sarah Bernhard and Edith Piaf would have strongly rejected this association. The majority of so-called cabaret singing in the United States is merely a continuation, a successive collection of songs which imprint the personal cache of a singer who usually is an emotional singer, a sort of a story-teller who usually selects a repertoire and a material that fit the singer’s personality, state of mind, vocal capability and emotional conditions.
A PROTOTYPE OF A CABARET SINGER: THE AMERICAN-FRENCH CABARET SINGER AND DANCER
Joséphine
Baker
Photo: The legendary Cabaret
Singer, Josephine Baker.
It
is very true, that highly respected French singers and stars like
Edith Piaf, Maurice Chevalier, Jean Gabin, Yves
Montand, Georges Brassens, Mouloudji and Jacques Brel as well as famous
American stars like Ella
Fitzgerald, Liza Minelli, Frank Sinatra and Elton John did perform in French
Cabarets like "Le Moulin Rouge"
. But, they were never considered as Cabaret Singers. Highly respected
Parisian singers and artists did sing for a short time in Cabarets, but all
their performances were called “Recital” or “Concert” and never "Cabaret
Performance". Almost all their appearances took place at prestigious and
very large concert halls, auditoriums and theaters such as “L’Olympia”. The
only two superstars of the Cabaret-Song (Cabaret Chanson) were Josephine
Baker and Mistinguett. They were purely Cabaret Singers. And believe me, lot
of skin was shown to the public. I have devoted two extensive chapters on
Baker and Mistinguett in this work. Please refer to. Mistakenly, Marlene
Dietrich is sometimes described in the American Cabaret circle as a “Cabaret
Singer”. This is totally inaccurate. Dietrich never performed in a Cabaret.
Her performance in the “Blue Angel” in which she depicted a cabaret
melodramatic artiste/singer was purely a cinematographic performance. Of
course, Dietrich loved her role. It did fit perfectly her looks but not her
personality. Contrary to the common belief, she hated cabarets.
I know this
for a fact, because she was a friend of my mother. Once, my mother Alexandra
asked Marlene: “Why do you keep all those photos of yours as a Cabaret
Queen?” Do you like them so much? It is not
Marlene Dietrich was
a very classy, intellectual, refined and high class lady. The female Cabaret
Singers, artistes and performers of the early Parisian Cabarets were “Filles
du Trottoire” (Street Girls). And quite often, they lacked class and refined
looks.
Edith
Piaf, who was born in the streets of Paris is an exception. Despite, her
lack of education and poor knowledge of etiquette, she remained very
different from the early French “Boites de Nuit” singers and "diseuses".
Piaf never showed skin. Piaf performed in cabarets for a short time because
she had to eat. She was extremely poor. Once discovered, she moved to
"non-cabaret" places. She categorically refused to sing in cabarets. The
whole world became her stage. In America, cabaret singers still consider
Edith Piaf as a cabaret singer. What a big mistake!
By American
standards, Andrea Marcovicci, Barbara Cook, Anna Bergman, Amanda McBroom,
Raquel Bitton and Anne Kerry Ford are “Cabaret Singers”. By
French standards, they are “Concert Singers”.
Continues on the next page.