Max Raabe and Palast Orchester swung into Philly again and they proved once again that their mix of authentic music from 20s Weimar cabaret, Tin Pan Alley and 30s Hollywood is something that still matters. It really is remarkable that the authenticity of this music is so joyous to such a crosssection of fans and in Philly, for the fourth time Max and his big band packed the house with multi cultural musiclovers.

For the second time it was the perfect venue, the Merriam, an old style Shubert Theater, with Beaux Arts moldings and deco frescos. Everyone seemed to be there, the theater writers and the serious music writers in a variety of genres. A.D.Amorosi from the Inquirer looked ready to meet Deitrich and Dita after the show. Women had vintage Chanel and cabaret pumps and a few of the gents were in tuxes.

Onstage, as usual, bandstands and the musicians were impeccably dressed in period Weimar supper club attire. Violinist Cecilia Crisafulli, the sole woman in the band, in a gorgeous wrap around vermillion gown and Max Raabe in Astaire tails. Some noir blue lighting and this is theater magic. But all of the accoutrement are divertissement to the genuine musical dreams being preserved here.

There’s something about German music that gets to me. I’m about a 6th German and I feel it when I hear DNA music like ‘Falling in Love Again’ in the language. I cry when Deitrich sang it and I cried tonight when Max did.

We all floated out with ‘Say nighty, nighty and kiss me’ from Dream and Little Dream for Me filling our hearts again even on a dreary rainy March in Philadelphia.

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