DThis story repeats itself as a farce: "Breathless through the night, until a new day awakens," sings Helene Fischer. And from German schools it goes back: "Unemployed in prison, Helene Fischer has done it."
No, the parody of the most downloaded German song does not pay tribute to the most popular German singer. Such distortions must be achieved. They are reserved for those who are heard in popular culture down to primary school. For what you can say about this singer, you must and must: almost all of Germany listen to you.
Helene Fischer is a phenomenon that does not emerge in the claim that it looks good and makes catchy songs. This would underestimate their work on their own myth – and it would not meet the expectations of the audience, which is not as low as the contempt of Schlager so much.
The singer, in order to make it short, lives off the brilliant combination of a very modern scene with well-produced hands-on anthems and an attractive look. Not even the fast neck of the blouse or skirt, which is even shorter than the excitement of the impatient TV viewer, even shatters a shadow on her flawless public image.
This woman has even managed to make her break from the presenter Florian Silbereisen as a dress song. They went "separate ways as a couple," wrote the singer a week ago, as if they were still a couple. Helene, whom she is called trusting, lies in the middle of us – and yet a few steps further than all the other couples who deliver lossy divorce struggles.
These songs – so they are no illusions. "The last word is love", "But I am not sorry for you", "You made me strong", "Love is worth it", "From here to infinity": Everything seems to be right!
You can wonderfully make titles and lyrics that do not leave cliché at the edge of the scene. In English songs, however, you sing along with some scrounge without complaint. In that sense, the vicious Anglo-American reaction to their success is more than hypocritical. As "Forbes" in November, it was estimated that Helene Fischer is among the best earnings musicians in the world with an annual income of 28 million euros in eighth place, behind Rihanna and before Celine Dion and Britney Spears, it was a great surprise. The Germans as Popnation? It was the only reason why it could never happen in post-war years in music, film or fashion, because the beaten nation would no longer increase its voice. A German superstar – it just can't be.
You just had to look at the "Helene Fischer Show" on Christmas Day at ZDF, which ended with today's market share victory. Since you saw the thirty-five-year-old person as a presenter, singer, actress and dancer on twelve empty paragraphs. She can't moderate like Barbara Schöneberger, she can't sing like Nina Hagen, and she takes too much word "heart" too often in her mouth. But all this does not matter, because as a showmaster she has arranged television events in such a way that they almost get the format of a Super Bowl show – on public television. This show was something like "Stars in Manege", the long-time broadcast of Bayerischer Rundfunk, just without beards.
But this is exactly where the aesthetic criticism must start. The singer has expanded his repertoire within ten years, and has released here from oppressive narrowness. But the songs sound like a mix of pop, pop, country, electro pop, ballad, even techno – as a good mix. In addition, the appearance is aseptic. Authentic you remain a stranger. The strength of this well-educated woman is the disadvantage of her weak material statement. Music makes us see the world again? No, everything is the same with Helene.
The paradox of over-committed form and lack of meaning solves her through her show. What so often called heart does not coram publico make up for the performance. In this connection, Helene Fischer, who was born in Krasnoyarsk as a child of a Russian-German couple, came to Germany with his family at an early age and trained as a musical actress, the old German imperative of Vorsprung durch Technik. Just as the glasses and hairstyle of Annegret Kramp-Karrenbauer bring the primacy of the technical beyond the aesthetics to shape, Helene Fischer's action orientation triumphs over dream penetration.
But who has ever won majorities by creating oneself as forgetting? In this connection, the criticism of Sauberfrau from the new German Schlager goes back to the void. She wants it that way, the audience wants it that way, and even elementary school students enjoy their immature and unclean rhymes.