Recorded at the Stade de France during Celine's concerts on June 19-20, 1999, for ninety thousand spectactors, this disc, released on August 26, 1999, is the audio part of one of the greatest Celine's shows.
"I performed there, I think, Celine tells, the most beautiful show in all my career. The atmosphere was as warm and intimate as in a very small room."
The disc does not contain the whole show : the most songs are in french, two are in english. You can hear Celine singing with her adult voice some extracts from her early hits like Ce n'était qu'un rêve, D'amour ou d'amitié and Mon ami m'a quittée. It is the last live recording before her two-years break.
Let's talk about love
The original version of this song, Puisque tu pars, was written in the 80s by French Jean-Jacques Goldman. The writter of the english lyrics is Bryan Adams.
Dans un autre monde
With this track, it is the action, the change, the travel. Celine is beating and powerful. The guitar is less used to leave more place with the keyboard and the percussions which revitalize the piece.
Je sais pas
This song speaks about a woman who couldn't imagine her life without her man, like Celine with Rene. We can remember that during the concert at the Stade de France in 1999, Celine was crying singing it, as we just learnt about Rene's cancer.
Je crois toi
This sweet song is about trust. Celine's soft voice is full of emotion and sincerity.
Terre
Here is an up-tempo track with an acoustic guitar. Celine performs with power and hardness Erick
Benzi's song.
J'irai où tu iras
(Duet with Jean-Jacques Goldman) This is an up-tempo song with flights of voice which reveals Celine's energy.
S'il suffisait d'aimer
The music and the voice are sweet and soothing.
"When Jean-Jacques sang in front of us 'S'il suffisait d'aimer', Celine tells, Rene and I, we cried like babies."
"If there were one track to choose on this album, Celine reveals, it would be without hesitating, 'S'il suffisait d'aimer'... because for me, it's like 'Quand on n'a que l'amour' by Brel, it's strong."
"Sometimes, Celine follows, the technique is perfect and the emotion is not there, so well it's not really good, we have to coordinate both at the same time, it's difficult, but I think I almost managed with 'S'il suffisait d'aimer'."
"When Jean-Jacques sang in front of us 'S'il suffisait d'aimer', Celine tells, Rene and I, we cried like babies."
"If there were one track to choose on this album, Celine reveals, it would be without hesitating, 'S'il suffisait d'aimer'... because for me, it's like 'Quand on n'a que l'amour' by Brel, it's strong."
"Sometimes, Celine follows, the technique is perfect and the emotion is not there, so well it's not really good, we have to coordinate both at the same time, it's difficult, but I think I almost managed with 'S'il suffisait d'aimer'."
On ne change pas
Celine's voice is soft, full of indulgence and a little homesicknessly.
"I, Celine admits, I think that people don't really change, and when Jean-Jacques presented me this song, I was very thrilled, because, every day, when I travel, when I'm on stage, when I make up, when I put high heels, when I tape a show, it's sure that there's always that "thin little girl" who comes from Charlemagne, who is shy but who wonders, who wants to travel the world, but she's lean and quite fragile... She's there every time."
"Our childhood is full of feelings and sometimes it's hard, but singing it, it's wonderful!"
"I, Celine admits, I think that people don't really change, and when Jean-Jacques presented me this song, I was very thrilled, because, every day, when I travel, when I'm on stage, when I make up, when I put high heels, when I tape a show, it's sure that there's always that "thin little girl" who comes from Charlemagne, who is shy but who wonders, who wants to travel the world, but she's lean and quite fragile... She's there every time."
"Our childhood is full of feelings and sometimes it's hard, but singing it, it's wonderful!"
Medley acoustique
CE N'ETAIT QU'UN RÊVE (1:18)
D'AMOUR OU D'AMITIE (2:01)
MON AMI M'A QUITTEE (1:58)
L'AMOUR EXISTE ENCORE (2:05)
ZIGGY (3:21)
D'AMOUR OU D'AMITIE (2:01)
MON AMI M'A QUITTEE (1:58)
L'AMOUR EXISTE ENCORE (2:05)
ZIGGY (3:21)
Pour que tu m'aimes encore
It is Celine's favorite song on the album D'Eux. Jean-Jacques Goldman wrote it late in 1994.
"Pour que tu m'aimes encore, Celine tells, the first song heard, the first recorded, at once reminded me L'hymne à l'amour by Edith Piaf. The same subject, the same structure, the same woman consumed by love. It is a hymn to wild, possessed, possessive, definitive love, as mine... We knew while we were recording that now it will be part of my life."
"Pour que tu m'aimes encore, Celine tells, the first song heard, the first recorded, at once reminded me L'hymne à l'amour by Edith Piaf. The same subject, the same structure, the same woman consumed by love. It is a hymn to wild, possessed, possessive, definitive love, as mine... We knew while we were recording that now it will be part of my life."
My Heart Will Go On
(Theme song in "Titanic") "In April (1997), Celine remembers, composer James Horner came to Las Vegas and proposed a project to Rene : 'I'm writing the music for a movie about the Titanic'. The three of us met in a suite of the Caesar's Palace. Horner played My Heart Will Go On on the piano. On his back, I was making signs to Rene, pouts, I was looking sternly at him, so that he understood I didn't want this song : I really didn't want to record it. First, I didn't like the song, he couldn't sing right, it wasn't really alright on the piano at the moment, I had already performed several songs for movies, one more? We wanted to take a break, another project? More especially as director James Cameron didn't want any songs for his movie. We weren't in the middle of the song that Rene was pretending not to understand me. When Horner turned towards us, he said : 'In one month, we will be in New York, at the Hit Factory, where Celine records her new album Let's Talk About Love. If you give us an orchestral track, she could make a model, then Cameron could listen to it. It would be, I think, the best way to convince him.'"
"One month later, James Horner was at the Hit Factory in New York with his orchestral track. He told me with many details the story of the movie. I began to feel the atmosphere of the movie... There is a scene with a couple of old people who are hugging, who are seeing the water come in from under the door and who are deciding to go to bed, and who are going to die together... And there is also a mother who is singing lullabies to her children, and she knows that they're all going to die... And then I imagined it. And on that day, I wasn't totally in top shape vocally and usually I don't take caffeine when I sing, but here it was a model 'no things to worry' so I took a black coffee with two sugars... Then I sang, there were all the Sony team, Tommy Mottola, John Doelp, Vito Luprano... Everybody knew, since the first take, that we had a big hit."
"But the model, the coffee and the two sugars remained the original, I never recorded the song again : the model is on the disc. They built the orchestration with my voice... I never recorded it again, so much so that the tremolo is faster on the song than on stage, than usual, because of the caffeine."
"One month later, James Horner was at the Hit Factory in New York with his orchestral track. He told me with many details the story of the movie. I began to feel the atmosphere of the movie... There is a scene with a couple of old people who are hugging, who are seeing the water come in from under the door and who are deciding to go to bed, and who are going to die together... And there is also a mother who is singing lullabies to her children, and she knows that they're all going to die... And then I imagined it. And on that day, I wasn't totally in top shape vocally and usually I don't take caffeine when I sing, but here it was a model 'no things to worry' so I took a black coffee with two sugars... Then I sang, there were all the Sony team, Tommy Mottola, John Doelp, Vito Luprano... Everybody knew, since the first take, that we had a big hit."
"But the model, the coffee and the two sugars remained the original, I never recorded the song again : the model is on the disc. They built the orchestration with my voice... I never recorded it again, so much so that the tremolo is faster on the song than on stage, than usual, because of the caffeine."
