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• TONY BENNETT LADY GAGA LAS VEGAS FULL

“I already cashed the check.”)Īs for the 16 vintage covers, many skewed toward expectations of what you’d see in this kind of show. “They were wrong… It’s when you’re with a man and you’re thinking about a woman - you gotta keep your poker face.” (“Sorry, MGM,” she deadpanned, shortly after singing the “bluffin’/muffin” rhyme, which is not an advertisement for the Park Hotel’s Starbucks offerings. “Just like (with) many songwriters before me, people thought they knew what this song was about,” she said.

There was no such seriousness, of course, with “Poker Face,” which Gaga introduced with some setting-appropriate gaming talk before adding some critical metaphorical explanation.

TONY BENNETT LADY GAGA LAS VEGAS FULL

“Paparazzi” was preceded by a sober speech about the price of fame and how “it is legal to be followed” - even though, she self-consciously added, “I don’t mean to tell you a sob story in some velvet and diamonds” - and ended with the full orchestra kicking in with some apropos suspense-movie chase music. “Born This Way,” for one, actually should have been born this way, the way she sings it alone at the piano, as a sort of slow gospel number it no longer sounds like a kicky “Vogue” knockoff but something more primal and spiritual, and it’s surprisingly moving in this more reverent frame. But those four 21 st century hits receive such fun new arrangements that you might wish she’d thrown in one or two more. Her due humility about that arrives in a filmed interview interlude where has her semi-apologizing for putting her compositions up there with Rodgers & Hart’s. The setlist for “Jazz and Piano” was more of a mystery in advance than the obvious greatest-hits lineup for “Enigma.” Would she even be doing any of her original material with an orchestra? She does, although it’s only four songs sprinkled into the show. She passes, with flying and terrifically flamboyant colors. The real test is imagining whether you’d still be this won over if you were seeing her do these songs as an unknown at the Rainbow Room… or as an actual Vegas star in an alternate 1960s universe where Shirley MacLaine is not the sole female Rat Packer. But this show makes it clear that no one needs to put a pinkie on the scale while judging her prowess. You may enter the premises with the still reasonable suspicion that anyone who’s made it in contemporary pop will be the beneficiary of some automatic handicapping when they deign to go legit and go slumming through the standards of the ‘30s, ‘40s and ‘50s. It’s no insult to that other production - or to thongs, for that matter, or to flying harnesses and giant robots - to say that “Jazz & Piano” blows that one out of the water.

“You know, it was just last night I was bent over in a thong singing some progressive pop,” the star quipped at the top of the show, making reference to “Enigma,” which opened three weeks ago, and which she had indeed been performing just 24 hours prior. It was pretty dreamy for the rest of us lovers of Cole Porter, Billy Strayhorn and ridiculous headdresses, too. But during Sunday’s opening performance of “Jazz & Piano” - her other residency show at the Park Theatre in Las Vegas - it was pretty clear that this trip through the statuesque heights of the Great American Songbook, not a gold statue, was her real dream come true. In a year when Lady Gaga stands to win at least one Oscar next month and has a decent chance at two, it may sound like a case of premature congratulation to suggest that she’s already enjoyed the most triumphant night she’ll have in 2019, if not in her career.