The Many Faces of Regina Spektor

Author: Melissa Marshall


Audio produced by Radio Arts Middlebury.

"But I adore him/And I implore him/ Saying I love none other/ But this ain't no style," rung out Regina Spektor's sultry voice, her voluptuous vocals captivating the sold-out audience at Pepin Gymnasium on Saturday evening. The opening lyrics to "Ain't No Cover," an unreleased and personal favorite of Spektor's to perform a Capella live, set the stage for a paradoxical performance. Whether it was addressing the audience in an wispy whisper before launching into the resounding, guttural groans of "AprËs Moi" -sung partly in harsh Russian - or the image of her small frame wielding a bright blue guitar, Spektor delivered a concert that was both refreshingly feminine and surprisingly masculine, endearingly innocent and mischievously sexual.

By commanding the stage, armed only with a microphone during the first song, Spektor immediately developed a presence noticeably lacking in the opening act, Only Son, while still exposing a vulnerability that would have been hard to achieve if she had hid behind her piano for the entire evening. This show of openness, however, was counteracted by the bizarre seating arrangements - the mandate to remain seated quickly created a wall between the performer and spectators.

Still, in attempt to be equally personable and surprising, Spektor even abandoned the bench for a few electric guitar numbers, leading to some of the most striking renditions of the evening. In "Bobbing for Apples," the veteran songstress posed quite the picture - her tasteful red dress was accentuated by the neon of her guitar and her disarmingly breathy vocals casually informed the audience that "someone next door's f---king to one of my songs." Tapping on the microphone and converting a chair into a drum, she exhibited a comfortable control over her environment throughout the entire performance - even when confronted with the unexpected. To show that she had a sense of humor as quirky as her lyrics, she responded readily to audience shout-outs, even politely asking a masculine disembodied voice if he had commented on her dress or breasts.Through a combination of elegance and pragmatism, coupled with a mind-blowing range and acrobatic vocals exhibited on such numbers as "Baby Jesus," Spektor kept the crowd on their toes - metaphorically speaking.

While Spektor may be classified as completive coffeehouse rock, and even though her 2006 release Begin to Hope can be found in every Starbucks, Middlebury College Activities Board's (MCAB) attempt to recreate a cafÈ atmosphere was misguided at best. The minimalist stage decoration, featuring simple illuminated stars, was harmonious with the vibe of Spektor's music, which only needs her undulating vocals as adornment. But it was the mandatory seating that threw the concert ambience off-balance. And while some individuals may argue that Spektor is conducive to chairs, it seems that making seating obligatory literally and metaphorically raised Spektor to a level that impeded the formation of a personal connection among fan and artist - a bond that makes a concert-going experience so special. Never has this reporter been to a concert where there was no dancing and no singing along - the atmosphere felt more like a Paul Jacobs recital than a pop performance. Even when three eager first-years began dancing to Only Son's final number, a security guard quickly squashed their physical expression. When this reporter peacefully confronted the amicable officer, she was informed that the Director of the Program had asked that no standing be permitted during the performance. And that ordinance was indeed carried out until Spektor's standing ovation, an ovation that one concert-goer felt was undeserved.

"While Regina Spektor is truly a stunning performer, once again the masses were overcome with the all too pervasive standing ovation-fever," said Ricky Klein '07. "It is not to say that the concert was not enjoyable, in fact it was quite exemplary, but to earn a standing ovation, Regina Spektor would have had to be spot-on and propelled us out of our seats and she just wasn't."

Following this trend of entitlement, one had to wonder if the opening act Only Son got to share the stage with Spektor because he also happens to share her bed. His music was vaguely inventive and his lyrics were passably poetic, but his tenuous stage presence and the looped CD constituting his band seemed better suited to stereo rather than arena performances. Still, he had the occasional shining moment, such as the aforementioned finale that had the first-years tapping as well as when he cleverly chastised an obnoxious heckler.

Despite its poor judgment in terms of seating arrangements, MCAB seems to have pleased a wide-range of music fans with their choice of the Russian-born prodigy. In an interview earlier this month.

"Since we haven't had a female vocalist come to Midd in a while, Regina seemed like a perfect show to make up for that absence. We also felt that Regina's music bridges a lot of gaps within the student body and would be well received by most, if not all, students. She's also on the upswing of her career, which certainly made her appealing," wrote MCAB Concert Co-Chair Sam Morrill '08 in an e-mail.

Spektor obligingly maintained the peace between the aficionados and the apathetic, playing a gamut of material as far-reaching as her range. And while the bulk of her songs came from the commercially successful Begin to Hope - the entire encore consisted of tracks from the album as she finally relented to pleas for "Samson" and "Fidelity" - she still remained true to her roots, delivering moving arrangements from 11:11 and Soviet Kitsch. Her skills as a performer even won over those who had never heard of the product of New York's anti-folk scene.

"I loved Regina the minute she got on stage," said Cata Vincek '08. "She's quirky, unique and incredibly talented. I've never heard a singer whose voice could go so effortlessly from diva goddess to soap bubbly flirt - not to mention while playing piano and, at times, even drums or guitar."

Sarah Swartzwelder '09 was equally impressed.

"Given the nature of it, I found that a live show was an incredible way to experience Regina Spektor's music, being able to connect the music to the musician," Swartzwelder said. It was my first time hearing many of the songs she played, and I think, aside from the fact that we weren't standing up, it was the best possible way to hear them."

Through her unique marriage of coyness and confidence, Spektor provided a memorable and enjoyable concert. And even though her incredible vocal improvisations occasionally detracted from her music, after Saturday evening's performance, no one could deny that the woman had talent and an abundance of style.

For more information, including student responses from the concert, tune into Radio Arts Middlebury at 4:30 P.M. Wednesday or visit http://www.middleburycampus.com.