Loreena McKennitt
Nights from the Alhambra

THE REVIEW

I have always thought that traveling is not just a simple way to abandon the systematic daily routine to dive into new experiences, in contact with new cultures and new societies, but also an introspective journey through which one can discover and traverse new paths for the spirit; the discovery is not exclusively empirical, but can reflect in the heart and mind of the one who experiences it, lives it as part of themselves, makes it their own, and this discovery thus becomes the person themself, because sometimes it's not necessary to discover by searching, but to search by discovering.

Very few manage to delve deeply into their own roots and those of humanity. Expressing it in words is even more difficult. Let alone through music.

Loreena McKennitt has always succeeded and has chosen to offer this gift to us, immortalizing the fruits of her life experiences with each new release and particularly with this cd/dvd filmed live at the Alhambra (Granada, Spain). An hour and a half of concert where Loreena and about ten other musicians truly give the best of the best. The performance is perfect and immaculate, practically identical to the studio production. The setlist includes all the most important (and obviously most beautiful) tracks from the artist's discography and can be defined as a complete synthesis of her career from 1985 to present.

Certainly not missing are the more traditional tracks resurrected from the past, like the unforgettable "Stolen Child" and the famous "She Moved through the Fair," performed right after the masterful 'ouverture' of "The Mystic's Dream": precious timeless melodies brilliantly performed that follow one another until reaching the sunny "The Mummer's Dance," and at times, one can notice how the ten musicians are not just there to play, but also to have fun, almost as if they were playing among themselves in a carefree whirl of notes and driving rhythms. Loreena wanders around the stage to the rhythm of the music, smiles shyly, the musicians' gazes cross now and then exchanging nods of understanding, they strum their instruments with ease and laugh -like in the excellent "Marco Polo" or, even better, during the performance of "Santiago" where Loreena hops lively, happier than ever.

And so the rest of the concert continues, alternating more lively and irresistible parts with tear-jerking moments: "Penelope's Song," "Never Ending Road," and "Dante's Prayer" are performed by a Loreena huddled at the piano, covered by her cascade of red hair, lost in her thoughts, with a tired and weary face and eyes shining with tears barely held back. Other songs are much more demanding, though with less emotional charge: "The Bonny Swans" leaves one stunned by the high notes reached by Loreena's crystal clear voice and "Bonny Portmore" mixes lyricism and vehemence resulting in decidedly intense and breathtaking. The austerity spreads through the air with "The Lady of Shalott" and "Caravanserai" gifts shivers of emotion with its mystical and fairy oriental-flavored harmony.

Amid changes of atmosphere and rhythms, among the smiles of the musicians and the tender emotion of our Muse and after some suggestive glimpses of the city of Granada, the concert inevitably concludes with the clear "Cymbeline": sad and angelic, it gradually fades to gracefully close one of the most beautiful concerts I have ever seen (regardless of whether it is live or not). The audience rises, applauds, and acclaims, some bring bouquets of flowers to Loreena. Certainly, what is described here was much more than a simple concert: it is the story of a woman, an artist who recounts joys and sorrows, curious discoveries, and deep reflections through the magic of a music all her own that does not and will never have rivals. And the journey continues...

"When the dark night seems endless,
please, remember me..."

Thank you, Loreena. We will not forget you.