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TV: Tonight it was time for the “Star Wars” pop party. After the session, it was Anita Hegerland who had to leave the program.
1. Hege Øversveen: “Take me to your heaven” – Charlotte Nilsson (1999)
Hege has a nice warm sound that you may not be as comfortable with with songs like this. She hasn’t chosen a classic, garish expression of the kind we often find in a “Eurovision” final, but it still seems like she’s a bit out of her comfort zone.
She is a bit unstable in her phrasing. It seems like your nerves are a bit tight, which means you have to focus a lot to keep up. This, in turn, goes beyond the lush earnings a song like this needs to become a reality. It fluctuates well from time to time, but Hege fails to make a completely convincing impact.
Vegard Bjørsmo: “Hold Me Now” – Johnny Logan (1987)
It’s fun to hear Vegard sing a song like this and seemingly enjoy the gap in the process. Pop’s expressive contrasts to what Vegard delivered on the previous broadcast are huge.
Vocally he’s not perfect – he sings a bit bitter here and there, but Vegard has good energy and good charisma. In competitions like this, communication is half the job and Vegard improves.
Ingeborg Walther: “Only Teardrops” – Emmelie de Forest (2013)
Ingeborg is overwhelmingly likely to go far this season. She is a technically good pop singer and looks like a vocalist who takes on challenges with skin and hair.
In other words, it leaves nothing to chance. So here too. Ingeborg sings rock solid from start to finish, plus she has enough earnings to play with choreography and phrases. She may not be the most unique singer, but in this context you can make her more versatile.
Einar strange: “Pray for me” – Kristin Husøy (2020)
It is brave of Odd Einar to choose a song that has failed to establish itself in the “Eurovision” canon. It is conceivable that people expect “evergreen” heading into a themed night like this.
It is not 100% successful. Not so much for singing interpretation, Odd Einar has pipes and tools in buckets and buckets. There is no doubt that he can sing. He also has low shoulders and a lot of energy. What’s jarring is that it’s not a very exciting song in this context. It just feels a little too pop.
Myra: “Satellite” – Lena (2010)
Myra herself says that she has not sung that much, that she is above all a rapper. She would like to sing more. What Myra does here is add more warmth and rhythm to the original. Especially when she posts a rap verse on her ass.
It can be difficult to make a song like this your own, especially when it comes to preserving the format. Here, Myra has mastered the art of balance. It sounds fresh, genuine and, well, just compelling.
Anita Hegerland: “Waterloo” – ABBA (1974)
Heisann, Anita embarks, in the opinion of many, on the “Eurovision” song especially the “Eurovision” songs, namely ABBA’s “Waterloo”. It should not be in the program aspect in any case. Gloves are colorful and fluttering all over the TV screen, which almost means that the main character herself occasionally takes a back seat.
As for the edge, this is a good scrub. Anita has a powerful voice, but there is something hoarse all over the place. You feel like you are looking for competition and therefore you are never fully enthusiastic about it. And here you really have to spin for it to work.
Emil Solli-Tangen: «Loving the two» – Salvador Sobral (2017)
Emil hasn’t made it easy for him either. Not least, the language is a challenge. Additionally, he has embarked on a song that largely carries the unique vocal expression of another singer.
But Emil must have it, he sings with his heart out of his jacket. Although it does not match the distinctive character of Sobral, there are some very beautiful minutes it offers on the television screen here. It gets a bit fluffy at first, but only a rank technician can get away with something like this.
Sandra Lyng: “Icebreaker” – Agnete (2016)
It’s great that Sandra chooses a song from a colleague. In the choir, she owns it too. It knots a bit in the lower register at first, but doesn’t spend much time working hot.
But like I said, when it hits the highest peaks, it really shows that there is a lot of impact on stocks. Sandra can start to drop her shoulders easily, it is in her blood.
Alex Rosén: “Mile after mile” – Jahn Teigen (1978)
Last week it was pointed out that Alex Rosén is not a great singer. It still isn’t. But you are great in the whole world for the communication skills that you exhibit here. It doesn’t do much on its own, but the look and sassyness of the song is palpable. There is nothing more genuine than this tribute to Teigen here.
Who would have thought? Tonight is definitely the most moving moment.
Knut Marius Djupvik: “Love Shines a Light” – Katrina and the Waves (1997)
Knut Marius has a lot on board to go out. Staying in the harness is more of a challenge than singing technique. On this last aspect he has such good control that it is almost not funny. From high to low tones, there is no hint of effort.
Fortunately, it manages to stay usable on the mat here. You see it costs, but work to overcome it. This is the gospel of the Sabbath and the soul in the most beautiful union.
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