Formidable! Aznavour Concert at Town Hall

By Joseph Cervelli

I can think of only two performers who not only had remarkable voices but more than that brought us on an emotional journey in their songs. One was the late, wondrous French singer Edith Piaf and the other the French/Armenian performer Charles Aznavour. While I never had the honor of seeing Piaf in person, her incandescent style in getting the songs across were a wonder. The same could be true of Aznavour. Having attended, at least, half a dozen or more of this late singer's performances, I was always amazed how  so many of his songs were like three act plays. He once said (not quite true, but the message was there) that he never says to an audience "thank you" for his songs are his thank you. I understood him. And you thanked him for what he gave us.

I attended the glorious tribute to Charles Aznavour called "Formidable! Aznavour" which celebrates the incomparable singer, songwriter and actor at its world premiere at Town Hall. Director/Creator Gil Marsala met with the late performer and was given permission to present such a loving tribute to him. This show will be the first in its world tour celebrating the upcoming 100th birthday of the late performer. He also approved of the singer Jules Grison to lead us through the life and times of the one and only Aznavour. 

As you enter Town Hall there is a screen with various slide projections of Aznavour through the years which is a nice reminiscent of his life. The last one has a sketch of him with the words "Forever in Our Hearts" which is also the last projection. 

Jules Grison, quite thankfully, in no way tries to replicate the voice of Aznavour. He has his own style and is just every bit as impassioned as the late singer. He is incredibly personable and has some very fancy and effective dance steps. 

He opens with the familiar "Les Comediens" which he gives a jazzy beat to along with another of Aznavour's signature songs "La Boheme" also giving it the same treatment. I did not think “Boheme”would work since never heard it that way, but it most certainly does. 

He joyfully goes into the audience to dance "The Old Fashioned Way" with an elderly woman before leaving her and bringing up a younger woman on stage. This felt a bit gimmicky.

He also sang "Jezebel" with the ardent quality it deserves. I could have done without the wood burning in a fire on the screen. The song and the singer sold the song completely. 

And his gorgeously moving "Que c-est trust Venise" about finding love in that immortal city and then never being able to turn at the end of the relationship is sung simply by his sitting on a chair. 

He so correctly points out that Aznavour wrote a number of songs that dealt with social issues. One that had to have been quite controversial since it was from 1972 is the deeply poignant "What Makes a Man a Man" about a gay performer looking for love. Grison's interpretation is every bit as deeply moving as I would have expected him to be. I was very taken with this performer's maneuvering from his lively numbers from Aznavour's repertoire to something as serious as this one. 

As Grison pointed out Aznavour wrote about 1200 songs so not easy to choose the ones for the concert though he certainly did most of the familiar ones interspersed with one or two less familiar to me. 

About halfway through the show he did a duet with the wonderful Melissa Ericco who made a brief guest appearance. 

Grison concludes at the piano (the four other excellent musicians have left the stage) with "She." During the rendition the light fades on him and you hear Aznavour's voice. That duet was beautifully executed. 

This is a lovely tribute to the one and only Charles Aznavour. If there was one minor quibble it would be that I wished Grison had told more about the late singer's life and career. Even briefly would have helped. But that in no way negates the pleasure of his the evening. 

I wish him well on his world tour.

Now, I must scold the terribly rude audience which was one of the worst I have encountered. Many were coming in late, texting, taking photos or videos. And people going back and forth from their seats to possibly the restrooms. I understand when nature calls, but to leave about 10 minutes into the show and worse yet, return to their seat when he was singing is unacceptable. Why not wait until he finished the song. I must but partial blame on the staff who were no where to be found during this except escorting those latecomers to their seats. This was an affront to both Mssr. Grison and his musicians.

PHOTOS: First two Marta Pich/Third and Fourth Eric Carriere