“Star Académie”: Camélia, Marily and Sarah-Maude are ready to have fun

Camelia, Marily and Sarah Mudd, the three academics at risk, are proud and excited about the idea of ​​having to perform solo at the Variété de “Star Académie,” this Sunday. This second risk of the season for the three nominees was seen above all as an opportunity to sing alone in front of an audience.

Sarah Maud Desjani knew that danger awaited her, having forgotten her words during the assessment. But by translating “River Deep Mountain High,” Tina Turner’s classic during Variety, she above all wants to have fun.

On the phone, she said, “This song makes me feel good, the audience knows it, and I hope it has as much ‘fun’ as me. I’m hopeful. Now, will this be enough to get the audience vote? I hope.”

leave it

The announcement of his endangerment didn’t really surprise Marielle Dorion. “The number of people in our place, teachers can find things to improve in each person,” she emphasized in an interview.

Teachers in particular criticized her for not letting people into her bubble when she sings, a comment that surprised her quite a bit. “I can understand their point of view. I want to say the words more. I also tend to close my eyes, and this creates a filter for the audience.”

Nice visit

Camellia experienced all kinds of feelings during the week. “Having been able to chat with my dad, it gave me a boost of energy. It brought me back to my true worth. Even though I am only 17 years old, I am acclimating here collectively. I am taking this risk as an opportunity.”

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Her recent evaluation allowed her to identify areas where she still needs to improve. “I think I have great technology. The teachers push me because they know I can do better, but everything is done for the sake of luxury. I am so happy that people trust me and give me all these lessons.”

spring issue

Guest Artistic Director, Lydia Bouchard talks about her number as an ode to spring, love and hope. “When we started talking about this number, last August, I wanted to play close to the sound, to have the impression of academics singing in our ears, said the choreographer. Proximity was my password. I also wanted the studio to be transformed a bit, Besides is somewhat surreal, as in Magritte’s painting. I want it to inspire a wave of hope, for the figure to feel as though someone is kissing our necks.”

For academics to present this issue on a spring day is no small feat for her. “I am intrigued by this wonderful adon. This issue is also a rebirth and renewal. We will hear ‘While’ by Gil Vignault, ‘While the Fields are Burning’ by Niagara, ending with an excerpt from the musical ‘Poetry.’ It will be a moment full of joy, full of love and beauty. I think that is it. Exactly what we need right now.”

The fact of working with singers who aren’t necessarily dancers didn’t scare her at all.

“You have to treat non-dancers very gently. But movement like voice is natural and innate. If you know how to work well, you can make people stand out in something natural and evocative. The singer also works with his body. To me, the gesture is like a singer’s subtext.”

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