Wiwi: Wow. At her first rehearsal Aliona Moon proved that thoughtful staging can turn a good act into a great one. The Moldovan singer took a cue from Azerbaijan’s Sabina Babayeva and wore a dress built to react to light projections. Over the course of the song it morphs from fiery red to gentle blue, and at one point even includes an interplanetary vista that may remind you of the desktop wallpaper on your PowerBook or other Mac computer. At the climax of the song a platform raises Aliona toward the ceiling, proving that Zlata Ognevich isn’t the only Eurovision contestant who can defy gravity (and without a giant lifting her). For me this song is all about the bridge, and the dramatic staging elevates even that to a new level. “It’s the biggest dress of the night,” the head of the Moldovan delegation said. “We had to send it to Malmö beforehand – it measures 5 metres!” We hope Aliona does well, as that dress probably cost a sizeable chunk of Moldova’s Eurovision budget!
Vebooboo: Europe’s poorest country has gone all out in the costume department this year with this outfit. For any of you who have seen the movie ‘The Hunger Games’, you’ll remember the impact that having a memorable dress can have on gaining fan support. Unfortunately, in Eurovision you also need to have a memorable song. Note to self, Moldova.
Deban: There are some things that may work well in Moldova, but don’t necessarily work as well internationally. Aliona Moon’s performance is one of them. Yes, she sings beautifully, and looks different in each motion shot, making her highly pliable as a model and lounge singer. However, it is evident that she makes no decisions. Why have such a bizzare LED backdrop? What purpose does all that thunder serve? And the elevated ball gown? Seriously??? The rehearsals should breathe life into songs, not turn them into circus acts. It seems to me that the Moldovan delegation are far more interested in extending Lauter‘s presence in the Eurovision arena. That’s the only explanation for the medley at the end.
Photo Credit: Thomas Hanses (EBU)