As expected, the exceedingly hyped “Lani Misalucha Live in New York” concert was a rousing success despite the grueling tension and arduous mind-torturing agony (days prior the main event) over unsold tickets, uncollected payments, settling final dues, and meeting last minute details. The concluding hours close to showtime gave box office the most startling moments as staff members had to ceaselessly juggle between ticketing and ushering and clearing names from the master list aside from maneuvering spectators’ traffic.
But it was all worth it and safe to say… it was a sold-out show!
The most-awaited appearance of the star of the show on the Town Hall’s concert stage was welcomed with deafening applause, thundering screams, boisterous tweets, and lung-exhausting cry-outs. Asia’s Nightingale Lani Misalucha wowed her crowd in a shimmering body-hugging mini with sided blown dry coif as she energetically rendered an exacting Whitney Houston platinum soundtrack, “Queen of the Night,” a cut from the movie, The Bodyguard.
And as if the opening salvo wasn’t enough to bring the house down the enticing singer followed it up with her own vocal rendition of Sia’s “Chandelier” in full octave that could have literally shattered any crystal-made object had there been one around.
Lani’s heartbreaking interpretation of Sam Smith’s 2014 soul song “Stay With Me” easily defined her perfected grasp for emotional crescendo with unrivaled glottal restraint and well sustained breath that was even more demonstrated when she crooned a 1996 Dusty Springfield chart topper, “You Don’t Have To Say You Love Me.”
An audience participation ensued when The Siren of the Strip effortlessly belted out Minnie Riperton’s 1975 hit single, “Loving You,” and allowed the crowd to chant the “La-la-la-la” part. Her suave transition from head voice to a breathtaking falsetto easily justified the titles bestowed on her more so when she punctuated the song with a six-octave vocal range that could demote Axl Rose from his throne as the studio recorded top vocal range holder.
The 1982 original Dreamgirls movie theme song initially waxed by Jennifer Holiday could also be relegated to the side with Lani’s effortless version of “One Night Only.” There was a bursting surge of passion and freeing gust of vocal power with the way she pulled it off.
What was actually amazing was the fact that her vocal timbre neither changed nor went croaky. In her delivery of the Disney 2013 animated feature film Frozen that gave birth to Kristen Anderson-Lopez and Robert Lopez collaborative hit, “Let It Go,” Lani injected her own style and it sounded superb. Had the producers got the chance to hear Lani’s version much earlier, straightforwardly, Idina Menzel couldn’t have signed on dotted line.
Lani’s repertoire won’t be complete without the inclusion of her OPM (Original Pilipino Music) hits. From her 2001 Crossover Live Tour album, she chose a Louie Ocampo composition, “Bukas Na Lang Kita Mamahalin,” one of her signature songs, then segued to a similar ditty (another Louie Ocampo penned hit), “Ikaw Lang Ang Mamahalin,” which was originally recorded by Joey Albert in 1986. Lani’s revival of the song became the musical theme of GMA -7 2001 TV melodrama with the same title. One could feel the emotionally-laden essence and the pulsating sensation that filled the air the manner Lani rendered them.
After changing to a fully sequined black serpentine gown, as if her almost perfectly delivered numbers weren’t enough to entertain (and convince) the audience, the beguiling singer turned Town Hall into an operatic venue (and we actually felt being transported to Venice or Italy or Rome, for that matter) via a 1791 singspiel Wolfgang Amadeus Mozart number from the Magic Flute, the “Queen of the Night” aria which she closely followed with a popular Franz Schubert composition, “Ave Maria.”
“Bohemian Rhapsody,” Freddie Mercury’s 1975 hard rock composition, effectually re-lived Queen’s glory days of rock supremacy with Lani’s heavy utilization of aggressive vocals accompanied by distorted electric guitar and intense drum beats. Sustaining her energy and stamina Lani tackled another strenuous number in “We Are The Champions,” from Queen’s 1977 album, News of the World that became the anthem of the 1994 FIFA World Cup and almost every sport event.
At this stance the ever sporty singer went wild sans shoes and moved like a true-blooded rocker complete with head bang and backbreaking moves. Exhausted and got floored after her song (scripted but effectively created worries and concern among her fans), Lani gamely resumed her spiels the moment she got up assisted by a vocal back-up and lead guitarist.
The next portion created an irrepressible pandemonium that literally sent her spectators down from their seats laughing and howling. And who wouldn’t be? Imagine Lani doing an impersonation of Michael Jackson (complete with glittering shoulder badge), pelvic kick, and moonwalk locomotion. After which, she put on a wig, projected her chin that easily gave away her next “victim” — Celine Dion… as she sang “Because You Loved Me.”
A natural comedienne and go-getter, Lani also did Miley Cyrus’ “Wrecking Ball” which she ended with Mommy Dionisia’s very peculiar version…and it convincingly sounded like the Pambansang Kamao’s mom, indeed!
What brought the crowd to a sentimental journey was a medley of a number of bestselling movie theme songs. The mere opening notes of the theme from the 1962 Audrey Hepburn starrer, Breakfast At Tiffany’s already earned deafening applause even before Lani could utter the first word. Indeed, the Academy and Grammy-award winning Henry Mancini composition, “Moon River,” is unmistakably well-liked by both young and old.
Then came up “Love Story,” an original Andy Williams recording from the 1970 movie with the same title which Lani chanted so expressively. Another nostalgically schmaltzy composition was Marvin Hamlisch’s “The Way We Were,” from the 1973 Barbra Streisand-Robert Redford romantic film…and Lani delivered it as if her own.
Celine Dion’s original recording of “My Heart Will Go On,” theme from Titanic (Leonardo DiCaprio-Kate Winslet), was Lani’s finale item for her movie theme song medley. The crowd just proved to be innately maudlin with the unremitting applause earned by every song that seemed to bolster former’s self-assurance.
Lani’s version of Barbra Streisand’s theme from her 1968 movie, Funny Girl, “Don’t Rain On My Parade” was amazingly stupendous… as if her vocal sound came straight from the recording studio’s original soundtrack.
Not to be left unnoticed and way down the drain was the debonair and musically-faceted Jared Martin, the fast-rising pride of Toms River, New Jersey. He, with a fully developed tenor voice and a charming stature strappingly enough to arouse an electrifying stage presence, has exhibited a very arresting potential even more so when sharing the stage with Lani Misalucha.
Lani and Jared’s perfectly blended vocal tone, convincing chemistry, and harmonized melody gave their isorhythmic duet a dazzling auditory effect. Rendering David Foster’s 1999 composition, “The Prayer,” in marvelous passion could give the original Celine Dion-Andrea Bocelli recording a stiff competition.
Jared’s version of Giacomo Puccini’s aria from the final act of Turandot was awe-inspiring and remarkably well-delivered. A constant staple in his growing operatic repertoire, “Nessun Dorma,” (None Shall Sleep), is fast becoming one of Jared’s self-defining songs. With a vocal resonance powerfully backed by his classical conditioning, Jared’s operatic singing technique was put to best use in this particular aria.
The young tenor gained more followers and instant fans when he confidently did an assortment of Tagalog movie-TV theme songs especially compiled and arranged for him by the Maestro himself, Lorie Ilustre. Rey Valera’s 1992 composition, “Pangako Sa ‘Yo,” George Canseco’s “Ngayon At Kailan Man” (1983 Basil Valdez recording), and Louie Ocampo’s “Kahit Isang Saglit” exactingly composed the medley that justifiably identified Jared’s mastery of his craft and as a multi-lingual performer.
Capping his slot with “This Is The Moment,” a Frank Wildhorn and Leslie Bricusse collaborative theme song for the 1990 play Jekyll & Hyde, Jared has efficiently delivered much more than what was expected of him while proving to all that he’s more than ready for the big time. (Hello, Broadway!).
Lani Misalucha, in a recharged mode, effortlessly rekindled the stage with and “Uptown Funk,” a Mark Ronson-Bruno Mars 2015 Soul/Boogie collaboration.
Time went fleetingly unnoticed. Before we knew it, it was already down to finale numbers like “If I Could Reach You,” the 5th Dimension top hit from their Individually & Collectively1972 album and “I’ll Always Love You,” a 2nd single from Dolly Parton‘s 1974 solo studio album and soundtrack of the film The Best Little Whorehouse in Texas with Burt Reynolds… but made popular by Whitney Houston for the 2000 film The Bodyguard with Kevin Costner.
Lani has truly mastered the art of performing by having saved the songs with the most heart-touching meaning… a fitting farewell to her avid fans that would leave a lingering impression long after the show was over.
To say the least, Lani Misalucha has indubitably emerged not only as a world-class performer but a naturally born comedienne, as well.
Incidentally, her vocal sound does not tire or change but, instead, gets stronger over the course of her performance without gasping for breath. There’s longevity in her voice, consistency and purity of tone, clear resonance, and excellent projection.
Hers is a powerful voice with controlled dexterity, pitch, and melismatic style that is audibly sustained to the final note. The divine Siren of the Strip has flawlessly mastered and perfected the stimulation of her larynx coupled with an unrestrained vocal expression that undeniably catapulted her to be the total performer that she is… consummate! Supreme! Unparalleled!
Certainly, Joji Babuschak’s JB Entertainment Productions that presented Lani Misalucha Live In New York concert at the historic Town Hall in the heart of the Great White Way last Sunday, November 22, 2015, did a milestone of a job. After the ambitious project what comes next? Hopefully a much bigger equally high-strung performer with stellar moniker.
Joji sends out her heartfelt thanks to all who watched the concert and those who volunteered their time and effort to ensure the orderliness and success of the show but most especially to her most solicitous and generous sponsors for without them the show couldn’t have been made possible.
For comments and suggestions, please email to: [email protected].
