VFriday 26 July. From the top of the Eiffel Tower a silhouette shines. The proof is there, from the first notes: Céline Dion sings Édith Piaf’s “Hymne à l’amour”. If the surprise had been rumored in the previous days, the chills were real when the singer appeared on the screen. The image left its mark, synonymous with a grandiose ceremony and above all the great return of the superstar.
Because Céline Dion could no longer hide it: suffering from stiff person syndrome, a rare neurological disease that stiffens the muscles, she had withdrawn from the stage for an indefinite period. He had also limited his public appearances, revealing his daily life only a few months later in the documentary I am: Céline Dion by Irene Taylor.
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Liberation reports that Céline Dion would have sung in playback, despite the statements of Thomas Jolly and Victor Le Masne, artistic and musical directors of the ceremonies. A thesis supported by several people from the music world, who did not want to be quoted. Faced with these elements, the organization of the Olympic Games did not want to respond.
A feeling of perfection
One of the first to examine Celine Dion’s performance was Wings of Pegasusa British YouTuber specializing in analyzing live performances. In his video published on July 31, he demonstrates this software tone correction (“correctness correction”) was used. However, if the principle is common in live performances, it is reasonable to assume that the changes were made, this time, on a recording.
In principle, when a program is applied to a live performance, all notes are corrected in the same way: live performance does not allow you to predict the note that will follow. However, here Céline Dion’s voice would have been corrected only in a few places. Everything gives an impression of perfection, which betrays the rough edges of the live performance.
Malca, a music producer, didn’t want to believe it, but after several listens he said: “Unfortunately I’m 99% sure that Celine Dion didn’t sing live. » To find out, the sound engineer compared three different videos: the performance of the opening ceremony published on YouTube, the version of the single released on October 10 and, a video of a rehearsal the day before that was leaked on social media network. In all three cases, it extracted the voice using artificial intelligence and applied Melodyne, a pitch correction software, to analyze it.
“Not done subtly”
In all three cases it is indisputable: they are recordings. “It doesn’t matter the version, all the notes are well aligned, the intonations are the same and the reverberations [effets audio ajoutés à un son, NDLR] react more or less the same way, he explains. It’s not even done subtly and could have been done differently. »
Why did the illusion work for Celine Dion when Aya Nakamura’s reproduction was visible? “It sounds to me like the vocals were recorded on a dynamic microphone, and not a studio microphone, which makes it closer to a live performance,” Malca says. Additionally, when extracting voices, we may hear artifacts, such as whether the voice was captured in an open or closed area. There, out of habit, I would say that it was recorded in the studio. » Also, unlike American hits, the French song is made up of long notes and a bearing (vocal flow from one tone to another) which give a natural appearance to the performance.
In detail, the version of the single is “ultramixed”, but remains very close to that of the opening ceremony, with “two small additional corrections”. As for the other performances, the so-called “live” one and the rehearsal, there too the similarities are immense: “There is exactly the same sharpness, the same vibrato, the same crunch, at the same moment, which seems impossible to reproduce with such precision. »
“A singer who can’t sing”
In this latest video shot on the phone the day before the ceremony, we can hear Céline Dion singing by recording her voice. This approach may raise the question: why do a test under these conditions, i.e. on a recorded tape? “This further supports the reproduction thesis,” explains Malca. In this context, really singing is a way of being realistic, so that the vibrato shakes at the same time, for example. »
And it’s also a cruel way to see the difference between real and recorded voice. “What saddened me was that, on full, high-pitched notes, she was forced to project, you could feel that the vibrato was dropping and that she couldn’t reach intonation. Mechanically it seems like it can’t do that anymore. He sounds like a singer who can’t sing. »
The music producer goes even further: for him the recording of “Hymne à l’amour” could have been made four years ago, during a performance in homage to the victims of the Bataclan, or even before. “Maybe this version even existed in a Celine Dion show,” he wonders. Because there is a particular orchestration, which is exactly the same as the show created five years after the Bataclan. »reproduction doesn’t make her a different artist: it’s still the same talent we know she has and we all feel the emotion in her eyes,” he says. This is what makes the greats so strong, which is that, live or not, it doesn’t change much what we hear, and it’s phenomenal to do it this way. Even when you are a sound engineer, we all want to put our brains aside and let ourselves be overwhelmed by this artistic emotion. It’s not just a question of voice. »
What are the implications of using playback in live performances, especially for artists with health challenges?
Interview: The Return of Céline Dion – Live or Playback?
Editor (Time.news): Good afternoon, and welcome to this engaging conversation where we dive into the recent extraordinary appearance of Céline Dion during the Olympic Games opening ceremony. Today, we’re joined by music producer and sound engineer Malca, whose insightful analysis has stirred quite a debate about the authenticity of Dion’s performance.
Malca: Thank you for having me. It’s great to be here!
Editor: Let’s get right into it. Many fans were exhilarated to see Céline Dion back on stage, especially singing an iconic song like “Hymne à l’amour.” However, there’s been significant discussion about whether she actually sang live during the ceremony. What were your initial thoughts as you listened to her performance?
Malca: To be honest, I wanted to believe it was live! But after multiple listens, I reached the conclusion that I am 99% sure that she didn’t sing live. The audio tracks from different sources I analyzed all showed the same corrections and inflections, which is not typical for a live performance.
Editor: That’s quite a claim! Can you elaborate on the methods you used to determine this?
Malca: Certainly. I compared three different recordings: the performance from the opening ceremony, the single that was released shortly after, and a leaked rehearsal video. By using artificial intelligence to extract her vocals and then applying pitch correction software like Melodyne, I was able to discern some alarming similarities across the tracks—the notes were precisely aligned, which is very rare in a live setting.
Editor: Your analysis highlighted that, although corrections are common in live performances, the level of precision in this case suggested something else.
Malca: Exactly! Live performances have a natural unpredictability; yet in this instance, every note was nearly identical. It felt more like a pre-recorded studio track optimized for perfection rather than the raw energy of a live performance.
Editor: So, you believe this was a deliberate choice on the part of the organizers?
Malca: Given that Céline Dion has been candid about her health struggles with stiff person syndrome, it wouldn’t surprise me if this was a strategic move to present her in the best light possible without risking her physical capabilities on stage.
Editor: It raises an interesting point about the pressure on artists, doesn’t it? When they face such health challenges, it can lead to tough choices regarding their public appearances.
Malca: Absolutely! Artists like Dion have immense pressure to deliver, and sometimes that comes at a cost. The illusion of a live performance can be very powerful, but it also brings up questions about authenticity in the music industry.
Editor: And what do you think contributed to the illusion working so well in this case?
Malca: The audio capture method was crucial. It sounded like the vocals were recorded on a dynamic microphone, which tends to have qualities similar to live performance—not the polished tones of a studio mic. Additionally, the French song structure with its long notes can make it appear more natural and allow for some vocal nuances that enhance that illusion.
Editor: It’s fascinating how technical details can sway public perception! And all this comes in a backdrop of nostalgia for Céline Dion. Her music has such a profound impact on many. How do you think fans will react once they realize the truth about this performance?
Malca: Fans are often very loyal, but they also value authenticity. If they discover this was a playback, it might lead to mixed feelings—relief that she was present but disappointment regarding the integrity of the performance.
Editor: Well, it certainly does open up a significant conversation about live music in today’s digital age. As we move forward, do you believe this will affect how performances are produced and consumed?
Malca: I think so. The line between live and playback will continue to blur, especially with advancements in technology. Artists and organizers need to find a balance between delivering quality performances and maintaining authenticity. It’s a challenge we’ll see more of in the future.
Editor: Thank you, Malca, for your insightful analysis and perspectives! It’s been a pleasure discussing this topic with you.
Malca: Thank you for having me. Always happy to share insights on something I’m passionate about!
Editor: For our readers, stay tuned for more discussions on music, culture, and authenticity in the upcoming newsletters. Until next time!