Helene Fischer: Concert in Munich: Helene Fischer breaks the threshold of pain with staging – Kultur-Nachrichten

Hélène Fischer was in the Olympic Stadium in Munich. Why too pompous staging becomes a problem for the biggest German pop star.

By
Wolfgang Schütz

There is a tipping point. Robbie Williams remarkably surpbaded him eleven years ago, Rihanna later too, Bono from U2 and Madonna himself. This is the point where the pop star belonging to the production of the superstar builds such an emphasis in importance that threatens the truly inducible content under Überfrachtung to collapse. Well, Friday night at the Munich Olympic Stadium, it is the biggest star of the German song

Helene Fischer in Munich – The staging drone

What: What is it? who's wrong, if Helene Fischer stops here? Did not she prove, a year and a half ago, that there are no limits to the Olympiahalle next door? With the support of Cirque du Soleil's world-renowned artists and after their million million renewal and number 1 album "Helene Fischer" for the first time a program on its own, without rehearsals, she played. The Schlager-Pop-Goddess, which floated on a belt in 2015 through an Olympic sold-out stadium, opened a new horizon. Because no, Germany has never seen anything like this before. And now?

Now, Helene Fischer takes two steps back in her content, saddle by putting two laps in it and largely goes on with what has consistently contributed to consistency by making a significant impression: her own work artistic, the extraordinary talent of this artist has emphasized.

Now she appears in the arena, which is almost completely furnished. The show with a good 54 000 spectators is not complete, probably also because of their frequency. Above the two-and-a-half-year program of 33 years, an explosive scene with huge video screens sat to the left and right and a powerful recording H.

Concert in Munich: Helene Fischer exceeds the threshold of pain

H as Helen. She poses on the maximum surface – and lets him take one of her breaks (there are a total of six "costumes"), staging the extra-intense and effective videos: as a life guide, erotic queen, queen of engagement

For 20 minutes she is also driving around the arena as a carnival princess on the roof of a car and surrounded by flags, the scene spits itself on all the power image, confetti, fire and fireworks. "Venus" … It's the complete staging drone. And again and again the question, who works towards the final shortly before 23 hours with "roller coaster": "Do you feel that?" – "Say, do you feel that?" Certainly.

But just as remarkable is the gradient. For example: Why does Helene Fischer, who has been emancipated from all mood swings, use a mix of 90's disco hits from "Rhythm is a Dancer" to "Sing"? Halleluja "? Why does every second image suddenly take effect here, is every expansion of its own songs a quote from the pop story, from the status quo to Madonna?

Why does not she realize that the cover of Matthias Reim's street title "Damn I love you" is too clbadic? The burlesque chair dance is falling apart? And most importantly: why on earth did Helene Fischer, on a second scene in the middle of the audience with the support of singer Ben Sugar, simply embarrbad and abuse the anthem of Westernhagens "freedom"?

It's like old Helene she's really outgrown, in the proposed format of a future Helen, that she can never achieve, fail. It's silly, anyway. The limit of pain is exceeded.

Why does Helene Fischer have so much trouble?

And with all his success, this audience, which is also in the floor of the first song, and his abilities, it would have been so easy. Helene Fischer managed to stop serving her mega-hit "Breathless through the Night" as the last atmospheric climax (or as Andreas Gabalier plays the biggest hits twice).

It begins after an hour and a half the last major part of descent, followed by "Anyway" and "I want to feel this fever again and again" and "The hell tomorrow morning" and "Heartquake" and "With no other "and finally" rollercoaster "- interrupted only from a small acoustic moment with" Only with you. "

And yes, from the beginning – "flyer", "phenomenon", "without error" – everything is really full here with her, with this Helene Fischer im Summer 2018. But she disappears herself in this show, is lost in the icon on megapixels.

Perhaps a presence that was still asking for a room tour, can not spend a whole year touring pool. It is therefore better for international stars to disappear in overwhelming productions to survive a world tour without suffering damage.

But the immediacy of the meeting, essential in the Schlager, which Hélène Fischer comes to it hurts the heart. Or is the 33 year old on takeoff, anyway, is this the crunch of a daring yet immature genesis expansion? Will the first English song not appear on the next album?

Sporty to bady: the stage look of Helene Fischer

Image: Matthias Balk, dpa, (archive image)