~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Diamanda approves us this page but this is not Diamanda herself reading the messages.
She had nothing to do with the creation of this page
It is solely my vision and interpretation
She has a link from her main website to this one.
I’m just a fallen woman........ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Please purchase Diamanda Galas cds and other wares here: Diamanda shop
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GUILTY GUILTY GUILTY release date!!!!!!!!!
Diamanda Galás’s much-anticipated compilation of tragic and homicidal love songs, Guilty Guilty Guilty, will be released in the USA by Caroline Records and worldwide by MUTE U.K. on March 31, 2008. To pre-order your copy, click HERE.
You’re My Thrill is scheduled for 2009.
Diamanda Galas Defixiones, Will and Testament: Orders from the Dead She plays the piano like driving rain slapping on concrete, and she sings like a demon going to war, a valkyrie scatting, a lizard queen seeking revenge for the dead...Galas is profound, rigorous, vocally unlimited, terrifying and utterly compelling. To hear her is to have your soul scoured clean. -THE AGE AUSTRALIA 2001
Diamanda Galas - Interview Defixiones, Will and Testament 1
Diamanda Galas - Interview Defixiones, Will and Testament 2~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
two great reviews for your reading pleasure
St. Valentines Day Massacre 2007
by blogger
Bernat Dedeu Pastor
After a small nap, I apply my disguise to go to the Knitting Factory, a nice music hall in Tribeca. Isabelle Deconinck, one of my favorite providers of rare and artistic predilections, has insisted that I must not miss Diamanda Galás, a singer and New Yorker of the most extravagant Greek origin. The truth is that, having listened to enough singers and voices, I had never heard singing as was done by this woman, to whom – and I speak still under the impact of the concert - it is difficult to classify. Galás approaches the French chanson and the blues in an unusual way—by means of Chopin-inspired accompaniments that denounce her classic training (she has worked with Boulez), modulating her voice with operatic and tribal mixtures that leave her fans fearless. Today I witnessed her ritual Valentine’s Day Massacre—selection of songs that treat love with the most absolute crudeness (A true comment I read in an interview with the singer; “Fatal love inspires the desires to sacrifice the one loved) and that has brought us impossible versions of “Padam, Padam, Padamâ€, by Marlene Dietrich and “Why Don’t You Do Rightâ€, by Chet Baker.
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DIAMANDA GALAS
guilty guilty guilty review
THE MODENA DAILY NEWS
May 18, 2007
The Sabbath of Diamanda Galás: The Magic
that Contaminates the Audience
by Generoso Venerrusio
A stool, a grand piano, an angel with a Luciferian visage. You are seized by a morbid sacredness, by a liturgy, by a hidden and indecipherable sense of fullness. It is the Sabbath of Diamanda Galás, the witch’s transgression given by one of the world’s most celebrated artists.
Smoke spirals from the stage and a sweet fragrance is driven into the audience; the lights are attenuated and then flicker until completely dark. It’s the agreed signal, the rite that is performed: Diamanda can enter the stage and start to sing her mass.
Few sounds, some whispered words and the skin gets cold, the body starts to vibrate. A porous, hot, and sensual voice bursts from an unknown recess. Just the time to charm. After it changes consistency and reshapes, it becomes acid, scathing, and searing so that the audience cannot repose.
Wednesday’s night concert has been a concatenation of old and new interpretations— (Amours perdues, You Don’t Know What Love Is, Autumn Leaves, O Death, Supplica a mia madre, Si la muerte)—a boiling magma of thought and reality.(Heaven Have Mercy, Eight Men and Four Women, You’re My Thrill)—a perturbing conflagration of tongues.
The mystical breath of this provocative priestess of the XXI century has trapped, absorbed and imprisoned the audience’s attention for 90 minutes. The admirable extension of her voice, the acrobatic contortions of sounds and words, never complacent but always moving, have given moments of panic, as if from blasphemy. Spirit and matter are one body.
Sacred and holy applause: the immaculate art of Diamanda Galás, like an object that deserves veneration, has found its ideal temple in The Teatro Comunale di Modena.
An ideal temple that was reserved for excellence.
Photocredits: Dona Ann McAdams, Olga K. , f Stop Fitzgerald, Austin Young, and Michael Halsband. Others are from magazines or flyers.
