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The powerhouse vocalist, now almost forty years into a storied career, is

currently working her way to a historical moment for Las Vegas’ to promote her Album
that inspire from her life.

Without question, she has earned her place in Vegas lore as the diva who once
refreshed and refocused the very concept of the artist residency, an enviable reputation
that will most certainly be maintained well past that final curtain call. Until then, fans
heading along to one of her highly sought performances should be doing so with
reasonable expectations. Celine may no longer have the dazzling and ambitious
production one would expect from a Vegas show of this calibre, but the retelling of her
long and illustrious career is still something that no discerning fan of music should miss.

Regardless if you enjoy her work or not, it’s hard to deny the singularity of a voice
imbued with that kind of depth and dynamism; the kind of individuality that has made
Celine Dion one of the most referenced and celebrated singers of all time. Not many
vocalists can capture the same dramatic heft of timeless hits like “My Heart Will Go On”
and “It’s All Coming Back to Me Now”, nor take saccharine songs like “Because You
Loved Me” and “The Power of Love” and build them into profound power ballads,
shaking the shallowness often credit to pop sentimentality.

Such is the strength of Celine’s voice, which gives her a presence like no other. She
roars through the Colosseum with notes that do laps around the rotunda, playing with
the venue’s carefully engineered acoustics with often thunderous results. That power is
evident from the start, reaching forth with aforementioned tune “The Power of Love”
which leads into a string of fan favourites like “That’s The Way It Is” and “I’m Alive”. It’s
an exciting way to kick off the show, and a nice reminder that, even after all these
years, there has been no noticeable compromise from the lower registers to the mighty
highs. This is no doubt a result of years of careful and precise techniques used to
preserve such a unique set of pipes.

I couldn’t even begin to think of all the unusual lengths Celine takes to keep her vocals
in top shape (I did hear a rumour about special air-conditioning), but its clear that
whatever she is doing works well enough to have her sounding like this. And she needs
to have those notes in pristine condition; how else would she tackle “It’s All Coming
Back To Me Now” with such flair and showmanship? Singling that song out as a grand
production on its own, even if her considerable orchestra and band aren’t doing
anything radical.