Loreena McKennitt
The Mask and the Mirror

Loreena travels, seeks, discovers, observes, meditates; her music is the spokesperson for her mute thoughts and reflections; her graceful and crystalline singing is the mirror of the wonder experienced, the tale of a journey through silent yet fierce surges of arcane emotions; "The Mask and the Mirror" is a treasure chest of images and colors, fragrances and seasons, poems and melancholic sweetness.

Loreena travels and above all makes others travel: this is the first impression one gets with the arrival of "The Mystic's Dream", one of the most evocative opening tracks I have ever had the chance to listen to. Powerful but never intrusive choirs, an occasional bagpipe (more precisely uilleann pipe), crackling and assertive ethnic percussion instruments that mark a calm and contained rhythm will accompany Loreena's veiled and twilight singing, in the shadow of the imposing Alhambra bathed by the last scarlet rays of the sun.

With the fresh and airy "The Bonny Swans", a splendid jewel written and composed inspired by a Celtic legend, the Muse will sing an agile and captivating melody, supported by lively and cheerful exchanges of electric guitar and violin. The atmosphere becomes even more graceful and delightful with "The Dark Night of the Soul", and here Loreena's splendid and clear voice will be a timid lantern in the gentle darkness of a spring evening, while a simple but disarming whisper of cello will leave anyone open-mouthed as they listen to its sweetened notes that soar in a refrain where "la" Loreena truly gives her best.

But what best channels an experience felt on her own skin is the tribal "Marrakesh Night Market", danceable and lively, the song of a night of magic and incense, and listening to it you cannot help but recall a crowded Marrakesh market animated by the buzz of mercantile frenzy; all enveloped by the passionate, almost dramatic tone of our Muse. Staying in the same theme, "Full Circle" itself breathes a warm and dreamy oriental melody so light and subtle, painting an arabesque dawn celebrated by the almost otherworldly voice of the Canadian who lulls us for six minutes that slip away like a breath.

One gem after another, from the lively and folk-tinged "Santiago", which incidentally is never missing from live performances, to the languid and autumnal piano of "Cé Hé Mise Le Ulaingt? / The Two Trees", to the dense lyrical vehemence of "Prospero's Speech" (inevitable are the references to the Bard Shakespeare and other poets like Yeats).

An album like "The Mask and the Mirror" is from another time, just as I think Loreena herself is: an impeccable and refined musician, a tireless thoughtful traveler, a worldly woman.

She is probably traveling even now as you are reading, and who knows in which lands filled with culture and mystery...

P.S. I take this opportunity to say goodbye because in a few days I'll be off as well; a farewell to DeBaser and happy holidays, see you at the end of August.