The performance of Italian tenor Andrea Bocelli at Bloomfield Stadium in Jaffa lasted more than two hours.
Two long hours in which one could try and stand on the secret of Bocelli's success and the magic he walks on tens of thousands of his fans.
Indeed, thousands filled the Hippo Stadium with what was an extraordinary performance in its dimensions in relation to what is accepted in the world of classical music.
On stage at Bloomfield, the Israel Philharmonic Orchestra and the Gary Bartini Choir were crowded, both in full ensembles, backed by massive amplification (which distorted the orchestra's natural sound), with huge screens and lighting stunts, which are inevitable in performances of this kind.
A little about the atmosphere around.
It was one of the most expensive shows of recent years (400 shekels for a seat in the stands, much, much more than that for a seat close to the stage), and the smell of money was indeed felt in the air.
The rich of Israel, sweetened and wearing brands, filled the lawn (covered with plastic sheets), and the rich a little less, contented themselves with stands and skilled ushers made sure that the populations did not mix with them, God forbid.
Thousands filled the Hippo Stadium.
Andrea Bocelli with songs by Maimon, Photo: Omar Keidar
Celebrities were also observed, of course, here and there.
Well-known politicians, Brenze people, and even one Quentin Tarantino who seems more than ever satisfied with the Israeli chapter in his life.
Is this the audience of the Israeli Opera?
Of the Philharmonic?
not exactly.
A crowd came to Bloomfield yesterday asking for quality entertainment, but not too high quality.
Vardi?
Okay, but just hits, and not to be too long.
But perhaps the comparison to the classical world may not be in place.
Although from the speakers were heard, at least in the first part, classical works by composers such as Vardi and Puccini, but the overall impression was of a kind of continuous talent show.
The spotlight was of course on Bocelli, but during the evening various guests appeared on stage: the girl who accompanied the blind tenor to the stage was suddenly revealed as a dancer, Bocelli's daughter went up to sing with him Leonard Cohen's "Hallelujah", and immediately afterwards his attractive son also appeared. Songs of his own.
In between soprano and tenor sang anonymously, a flutist played excerpts from "The Good, the Bad and the Ugly" and even Maimon's songs suddenly popped up, with no clear connection, to sing the hit "The Silence That Remains".
Seems happier than ever.
Quentin Tarantino, Photo: Sivan Farage
And what about Bocelli himself?
I will admit and confess that the Bocelli phenomenon deceives me.
As an operatic tenor he simply does not deliver the goods.
Its sound is flat, dry and lacks depth, and has no expression or luster.
When he sang Vardi he sounded like an amateur.
I find it hard to believe he would audition for any opera house in the world.
Still, the 63-year-old Bocelli has sold more than 70 million records and there is no tenor in the area approaching those numbers.
Is Bocelli's success due to his charisma?
This is a quiet kind of charisma.
Bocelli speaks to the audience but barely, he apologizes for playing his guitar, jokes about the amount of singers in his family, and generally seems embarrassed by the situation.
But the embarrassment disappears when he sings.
So, something in his face, in the considerable effort in his throat, something in his concentration, in his devotion to the moment, in his closed eyes always while singing, conquers the hearts of the fans.
And the critics had no choice but to watch from the sidelines in amazement at a grateful audience that clapped for twenty long minutes at the end of the show.
Such applause does not exist in the Philharmonic either.
Were we wrong?
Fixed!
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