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Beatrix Runs

Elizaveta - 2012

The beginning to my relationship with this album is as it should be...a mystery. I can recall not a single detail as to how I first came to hear of Elizaveta nor what inspired me to buy an album I knew nothing about. There does linger a vague memory of being impressed in secrecy and moved in essence during my first tryst's with Beatrix. However, as the music has been and will always be to me, the beauty of our continued time together lies buried deep in the impossibility of description. Certainly that is not to say that each of the ten musical episodes are past anyone's abilities of simple transcription. One could easily butcher the music with time signatures, tempos, cliches of the such and do it in a manner rather expediate. For me though, the mystery of what Beatrix brings to its emotional and musical depth is similar to the composer herself in her unmistakable je ne sais quoi. The enigma in play should come as little surprise when thinking that its conception was realized by a woman born in New York, raised in Moscow, studied music in Prague and received her degree in Opera performance in LA. Yes, she's an opera singer trained in full but one that within Beatrix only plays to this forte in passing. She lets her operatic training soar in Odi Et Amo but otherwise, this part of her profession is in minor accentuation's only. Beatrix is certainly not an opera singers attempt at a mainstream crossover. It is first and foremost a singer/songwriter album. We can call it that without worry of damaging what it holds within because really, what does that mean? It's accessible, lacking in musical bouncers. It has purpose and a direction to it that any one can attune to. It has an open invitation that manages to lack in any generic qualities and once within, its honesty and passion endear us to it. As genuine as the many different stylistic qualities the music encompasses and along with the infinite range of emotional content delivered, Elizaveta's lyrics are as true and believable as the music it compliments. When she tells us in earnest that she 'will try and send (us) letters and postcards from the moon', we believe that she will. When she innocently proclaims in Dreamer that she 'believe(s) in fairy tales and serendipitous encounters', the way her voice bounces and plays within the very matter-of-fact musical setting it makes us see that she isn't being naive in this belief. It is fact and a stone cold one at that. It is her truth and armed with this and her diverse musical prowess she then makes of the piano her accomplice throughout Beatrix. However, even a good accomplice knows when it is better to stay out of the picture and in doing so in tracks such as Armies Of Your Heart and Victory, the absence of the piano gives the missing instrument a presence. Never out of surmise is Elizveta's beautiful and impassioned voice. Conveyed in all her vocal performances is that of skill, natural in gesture and perfectly aged in practice. From the opening opportunistic drive of Dreamer to the desperate mirth of Meant. From the poignancy of Orion to the heart breaking piano and voice duet, Goodbye Song. From each and every second of Beatrix to the next, there is something a little beyond what we ever expect and even in sincere familiarity with Beatrix, for me that has never changed nor will it. This album entered my life when I was engrossed in exit's and because of this, forever it will remain with me.

Posted by Andrew Scott



Posted: 01/14/2014