![]() ![]() While the accompanists are a visual treat and prominent part of the overall look – Cornucopia is directed by celebrated Argentine director Lucretia Martel and has the feel of an art installation – the muddying of Bjork’s vocals and lyrics takes away from the power and the impact of the show.ījork’s astonishing voice, Sylvia Plath-like lyrics that places her suffering at the centre of her art and her famously unique articulation is why she cut through the noise of contemporary rock and pop to become one of the clearest, sharpest voices in the movement to save the planet. ![]() Unfortunately, those were among the few lyrics we were able to comprehend and Bjork’s famed ringing three-octave voice is muffled by the wall of sound created by her woodwind cohort, Viibra, percussionist Emanuel Delago-Norz and harpist Katie Buckley. Dressed in white, wearing golden masks and harmonising so beautifully you think they were auditioning for heavenly gig, the home-grown warm-up act melded the look of a Greek chorus with traditional Icelandic sounds to kick off the show with an uplifting message to future generations. Seizing the baton that had been handed to them by the Icelandic icon, Voyces all but ran off with the show before it properly got under way. ![]() While Cornucopia is mostly about the art-pop princess’ probing, soaring singing and the breathtakingly vivid high-definition imagery created by German artist Tobias Gremmler (“Genius” for short) some of the most memorable moments in this Perth Festival headlining event came when things were at their quietest, such as the lovely opening that featured the Perth choir Voyces. But it took a mid-show speech from Greta Thunberg to guide us through the jungle of images and the on-rushing soundscape to remind us that Cornucopia is Bjork’s full-throated response to the climate crisis. Cornucopia, which is based on Bjork’s 2017 album Utopia and its sequel Fossora, embodies the Icelandic iconoclast’s fears for the future of the planet. ![]()
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