The Barbra Streisand Music Guide: Streisand Concert Tour 2006

Barbra Streisand with Il Divo at Philips Arena, Atlanta, Georgia, November 2, 2006

Barbra Streisand at Philips Arena 11-2-06 (audience photo) This week in Atlanta, having attended my fifth Barbra Streisand concert performance since 1994, I'm uncertain how to begin this personal reflection of that evening. Are comparisons in order? Is Barbra singing in ATL as momentous an event as her bittersweet New York finale in 2000 or her triumphant return to public performances in '94? Truth is that the unique interaction between Barbra and her ever-appreciative loyal audience makes every concert a distinct happening. For those two hours, we are witnessing her "last" performance...at least until the next city gets its turn.

Rising dramatically upstage with the overture's conclusion, Streisand brings us to our feet for a thunderous outpouring of admiration and childlike glee mixed with energized anticipation for her musical soiree. We savor our mutual affection for a time before she moves center stage to announce in song ("Starting Here, Starting Now") that this happening in Atlanta is only just beginning. "So be still" (this won't be easy), "take my hand" (no problem), "for the greatest journey heaven can allow" (we're ready)... clearly her voice remains a wondrous gift to behold.

Furthermore, Barbra's stage presence is utterly charming, gracious, humble, candid, and downright fun, with a palpably enhanced comfort level. Suiting her perfectly, the superb stage design features abundant runways, transparent round tables, swivel stools, pink and red roses, and ubiquitous steel railings amidst handsome lighting and marvelous sound design and acoustics. Indeed, Barbra looks at home with her 58-piece orchestra, which plays in a shallow depression centered in the stage's inner ring. "Down With Love" is particularly effective in this setting, and Barbra's instrument capably handles the tongue-twisting verses. Acknowledging the audience on both sides of her, she sets the tone for an ever-surprising and innovative program (for those who avoided earlier media reports). For instance, the often performed signature smash hit "Evergreen" follows "Ma Premiere Chanson," both Streisand compositions. The former receives a unique multilingual rendering with Il Divo's proficient collaboration (deserving a studio recording), while the latter finds Streisand on a piano bench for the first time to delicately strike the keys.

During a brief first act break for Barbra to enjoy some sausage pizza from our local Mellow Mushroom, Il Divo serenades and truly stuns some in the audience with three popera renditions of familiar non-Streisand songs including "My Way." The international tenor quartet increases its burgeoning following with every appearance, scoring big in Atlanta, and even nabs two pages in Streisand's tour program - quite an endorsement.

Intermission provides time to wind down and chat, perhaps glimpse some of Barbra's unassuming guests, like John Travolta & Kelly Preston, actor-playwright Tyler Perry, Mayor Shirley Franklin, and Rep. John Lewis, and consider some of the info Barbra imparted in Act 1. She wanted us to know how much she enjoyed some regional dishes from a couple of midtown Atlanta's cool eateries, South City Kitchen and Cafe Intermezzo, which caused her to miss an intended visit to the Margaret Mitchell House. She also wanted to set the record straight that the unfortunate drink-tossing incident in Ft. Lauderdale the other night was a result of an Australian man's spat with his girlfriend and completely non-political in nature, according to his own apology letter. Prior to singing "The Way We Were," Barbra praised Philips Arena, a more preferable indoor concert venue than the old Atlanta Stadium where she began her August 1966 outdoor concert in a yellow rain slicker and umbrella. She was tickled when someone in the audience tonight boasted of being there.

Back to the present: house lights dim, and conductor Bill Ross launches the orchestra into a brand-new entr'acte quoting music from Streisand films Funny Girl, On A Clear Day You Can See Forever, Yentl, and The Prince of Tides. Certainly, Barbra's own Nuts score deserves a place in an intro one day. Time to begin Act 2 with "The Music Of The Night" (from Phantom of the Opera) reuniting Barbra and Il Divo (a worthy Michael Crawford substitute) for a number that truly "takes flight" with each vocalist hitting the highest highs and lowest lows in a wonderfully challenging theatrical song. Thrilling is an understatement.

Becoming more serious and reflecting on her maternal life, Streisand introduces "You've Got To Be Carefully Taught" from Rodgers & Hammerstein's South Pacific and pointedly enunciates its cynical lyrics - "You've got to be taught to be afraid/ Of people whose eyes are oddly made/ And people whose skin is a different shade/ You've got to be carefully taught." This straightforward idea of prejudice's origins particularly resonates in the south, but, of course, persists throughout the world, as Streisand herself can attest and continue to challenge. Smoothly segueing into Sondheim's "Children Will Listen," the evening's newest song (1987), she urges great care and child nurturing, embodied in her touching silky vibrato delivery.

Another Act 2 highlight is Barbra's sublime rendition of "What Are You Doing The Rest Of Your Life?" while leaning against Randy Waldman's grand piano in her flowing gown. Fusing with piano and orchestra, Barbra's voice floats romantically among us, and I feel compelled to share knowing glances with my wife who just happens to adore this song.

"Ask Barbra" finds the singer sans shoes, taking an unexpected but novel break to answer audience questions submitted on cards before the show. Someone wonders whether Streisand would consider doing another Broadway musical, and the answer is not so unexpected: (paraphrasing) "Only if they changed the frequency of performances from 8 shows a week to 2 shows a month." Others inquire what it's like to be married to James Brolin, and Barbra can merely sigh and use the card to fan her flames of passion. Needless to say, the audience is in stitches (to quote an earlier song), which extends to her much queried and misunderstood comedy sketch with popular George W. Bush impressionist Steve Bridges. Innocent enough, this fanciful meeting between "Babs" and "Dubs" yields consistent laughter, eventually ceasing when Laura Bush calls her husband away. Unfortunately (or fortunately), Barbra is left solo to perform the perennial Democratic Party anthem "Happy Days Are Here Again," and she really belts it, admitting that come November 7th (Election Day), she optimistically hopes to have reason to outdo herself when singing the song.

In this final song quintet Barbra gradually builds to the concert's conclusion, self-examining her longevity and degree of success (new lyrics), as she croons "I Stayed Too Long At The Fair" from her marvelous Second album. Sitting virtually still and displaying her finest acting from a place deep inside, she sings softly and with particular emotion when addressing her mother and father. We can't help but empathize with such open introspection.

Returning to South Pacific, preceded by eloquent words of hope and humanity in William Saroyan's forward to his 1939 play The Time Of Your Life, Streisand proves herself "A Cockeyed Optimist" with another song debuting in her repertoire and gladly so. As with "Carefully Taught" from the same musical, Streisand sings with zealous punch to everyone's delight.

Continuing these themes, Barbra performs the concert's penultimate number, the always rousing "Somewhere" (from West Side Story and her classic Grammy-winning Broadway Album). Joined by Il Divo, Barbra rises to magnificent heights both musically and on the stage. Her final mesmerizing note never seems to end, but when it does, Il Divo, perhaps carried away with the raw emotion and power of the song, just keeps going. Make no mistake, these guys are exceptionally talented, but they should accompany Barbra more properly on this song.

Barbra Streisand at Philips Arena, 11-2-06 (audience photo)

To close the show, Barbra echoes her 1994 closing number "For All We Know" by choosing Harold Arlen & Johnny Mercer's "My Shining Hour," which she's never recorded. Having arisen several times already, the audience would gladly continue for at least another half-hour, but with these heartfelt parting words, one must plan on making this remarkable evening a memory. "Like the lights of home before me / Or an angel, who's watching o'er me / This will be my shining hour / Till I'm with you again." Indeed, shining brightly for two hours (best in her glittering black pantsuit), Barbra was inspired to entertain us in person again, and we succumbed to nonstop cravings for her musical delicacies and treats.

In fact, this craving manifests itself in some of the loudest ovations ever witnessed in the arena, luring Barbra back to the stage in a magnificent Barbra/Fanny hybrid performance of "Don't Rain On My Parade" (Broadway reprise) replete with the gusto of a voice that never quits and some impromptu dance choreography in bare feet. She has sung this song nearly a thousand times, and this evening, as before, one is cognizant of how she continues to overcome travails and tumult regarding her public persona played out in the media. "Nobody, but nobody is gonna rain" on her parade. Indeed, in Atlanta, this night, we eagerly joined her parade, breathlessly awaiting and savoring each new turn.

Finally, in a not-always-planned second encore, Streisand thanked the audience for its overwhelming warmth and simply sat on the stage to sing Charlie Chaplin's delicate "Smile." A relatively new song for her, Barbra performed it like a veteran, as lovely as her beautiful Movie Album or Tony Bennett duet versions. With this final number, Barbra Streisand finished the evening's unforgettable happening with grace, reinforcing her strong audience connection reflected in everyone's smiles while waving goodbye and weaving out the doors. -- Mark Iskowitz, 11/4/06