Anne Rieh (pronounced Ahna Ree) is a class act.  Dietrich-esque and dressed in a full- length, classic red evening gown with matching satin opera gloves, she swept onto the stage with the flourish of a magic wand and surprised the audience with the promise of an overseas trip.  Where to?  Berlin and Paris, to find the original dark and rich roots of cabaret.

And she delivered on that promise singing mostly in her native German with forays into French and  English.  Along the way she told amusing stories that illuminated each of her unique selections. Predominantly European and from the 1930s, the music had a distinctive melodic and harmonic air about it, but Rieh was so focused on its subtleties and nuances that there was no hint of a language or cultural barrier.  The feeling spoke through the passion in her performance.

Speaking of passion, Musical Director, pianist and husband Randy Reeman created beautiful and fascinating foundations for her intricate material. His inventive and modulated accompaniment fit the flow and emotion of the music like morning dew on grass.

Highlights of the show included a three-song tribute to Eva Busch, “Musik, Musik, Musik” (from the 1939 Hallo, Janine! ) and the rarely heard Kurt Weill/Berthold Brecht “Tango-Ballad” from The Threepenny Opera (a duet with Reeman).

The meticulously researched repertoire of Bel Ami gave a refreshing perspective to the art of cabaret.   As a travel guide down that colorful path, Anne Rieh was enthralling and utterly charming.

Geoffrey Leigh Tozer
Cabaret Scenes
September 23, 2009
www.cabaretscenes.org