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Ewa Kabza

@evanthiamaria

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Finding magic in little things 💫
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I first saw @andreabocelliofficial on TV at Sanremo in February 1994, when he performed Il mare calmo della sera. I was 5 years old. And somehow, even then, there was something about this voice. I have been absolutely hooked ever since. ❤️

32 years later, I got to hear Il mare calmo della sera live.

And I can’t quite explain what it felt like to hear the song that started it all for me, sung by the same man, all these years later - now during his anniversary tour celebrating 30 years of Romanza.

While listening, I couldn’t stop thinking about Andrea back in 1994, sitting down at that piano at Sanremo. I wonder how it feels for him to sing this song now, in front of packed arenas and stadiums all over the world. And whether, when he sat at that piano that night, he could have even slightly imagined where his artistic life would take him.

There are artists you love, and then there are artists whose music somehow becomes part of your own timeline.

Ah, what a privilege to experience Andrea. ❤️

andreabocelli • romanza taken in Polsat Plus Arena Gdańsk by @evanthiamaria

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2 months ago

“All our dreams can come true, if we have the courage to pursue them.” 💫

With @andreabocelliofficial by @evanthiamaria

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7 years ago

Céline Dion. Icon. Diva. Phoenix. Aries.

She always delivers. But oh boy, HOW she delivered on September 19.

I still cannot get this concert out of my head. I genuinely think it was the best @celinedion concert I have ever been to. I have seen her power before. But this time I saw something different. Something wild and completely untamed. Pure Aries fire. That kind of drive that does not ask for permission, does not wait for perfect conditions and simply refuses to be stopped.

Céline and perfection have basically lived in the same sentence for decades, but that night it felt like perfection was not the point. And I mean that as the biggest compliment possible. The point was freedom. Instinct. Emotion. She took songs we have known forever and made them belong to THAT exact night and THAT version of herself. She played with the music, pushed it, laughed with it, fought with it, lived inside it. At moments it felt like she was singing those songs for herself first, exactly the way she felt them, and somehow that made them hit us even harder.

And the energy between her and the crowd… I still do not understand it. Every scream, every cheer seemed to give her more fuel. The more we gave, the more she gave back. Then we screamed louder and she somehow found another gear. Pure Aries feedback loop! She did not just rise like a phoenix. She went FULL phoenix and took the whole arena with her.

On ne change pas… and yet something did. Courage. I’m Alive. It’s All Coming Back to Me Now. And then All by Myself into Pour que tu m’aimes encore? Seriously, what kind of emotional violence was that?

I do not know Céline personally. But on September 19 I felt like I saw a piece of the woman behind the icon. Pure. Intimate. Funny. Stubborn. Wild. Passionate. Vulnerable. Brave. It takes courage to show that much of yourself to thousands of people. And oh boy, does she have it.

From one Aries to another: I saw that fire. We all did.

Céline, you did not simply come back. You took us dans un autre monde, and I still have not found my way back. ❤️‍🔥

#celinedion taken in Plenitude Arena by @evanthiamaria

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25 days ago

On 15 April 2019, the world watched Notre-Dame burn. The roof was destroyed, the spire collapsed and honestly, seeing those images, it was difficult to imagine her looking like this again.

Five years later, she reopened her doors.

And the work is still not finished. The restoration continues, just like Notre-Dame herself has continued to change, survive and be rebuilt throughout more than 860 years of history.

There was something quite special about seeing her like this. Lit up at night, reflected in the Seine, boats passing by, people everywhere. Not a monument frozen in history. Just very much alive again.

Notre-Dame de Paris, September 2026.

#paris #notredamedeparis taken in Catedral de Notre Dame Paris by @evanthiamaria

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14 days ago

ENCORE: FROM “ALL BY MYSELF” TO ALL OF US

The encore may be the simplest part of the show structurally, but emotionally it destroys me.

All by Myself: one person and one voice. A song built around the fear of being alone. And there is a story behind Céline’s version that makes its place here even better. During the recording, @davidfoster had created that famously difficult high note. @celinedion has recalled that he told her Whitney Houston was recording next door and, if she couldn’t do it, he could ask Whitney. Foster later confirmed that he used Whitney’s name as a joke to push her. Céline did the note. The rest is vocal history.

And then: Pour que tu m’aimes encore. A song about wanting love so much that the speaker is willing to change language, identity, almost everything, just to be loved again. But hearing it in an arena changes the text. There is something magical about thousands of people singing it in unison with Céline. Suddenly the “I” and “you” become unstable. Who is speaking to whom? For a few minutes, the song exists somewhere between the stage and the room. One voice becomes thousands. Solitude becomes reciprocity. “All by myself” becomes all of us.

And visually, I love that the concert ends in @maisonalaia. At the beginning, Dior frames the body through historical couture, structure and ceremony. At the end, Alaïa brings everything closer to the body. The fashion arc moves from costume to skin. The musical arc moves from identity to relation.

And that is probably what I keep returning to when I think about the whole show. It begins by asking who remains underneath all the roles, and ends with one person standing in front of thousands, asking to be loved still.

And somehow, thousands answer.

#celinedion #alaia #maisonalaia taken in Plenitude Arena by @evanthiamaria

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24 days ago

ACT IV: FAITH, MEMORY, VOCATION

Act IV looks upward. Love Can Move Mountains brings faith into the language of the concert; The Prayer turns it into guidance, protection, a path through uncertainty. Then It’s All Coming Back to Me Now pulls us back to earth: memory not as something quiet, but physical. Touch, images, heat, the past returning to the body.

And then Je chanterai. I will sing. Future tense that matters to me. The song imagines years passing, projects ending, love and disappointment changing shape, and still: I will sing. Written decades ago, those words carry a different weight now without needing to become a statement about illness or survival. Singing remains a verb in the future tense.

Then comes La Wally: a woman leaving for the mountains, into distance and snow. @celinedion sings an opera aria without pretending to become an opera singer, and somehow that belongs perfectly in an act about vocation. A vocation is not the same thing as a category. You can step outside the form people assigned you and still remain unmistakably yourself.

And Callas is not a casual reference. Céline has admired her for years: in 2007 she recorded La Diva as a virtual dialogue with Callas, and in I Am: Celine Dion we see her listening to Callas. Director Irene Taylor later described Callas as a vocal mentor, inspiration and source of strength for Céline.

For La Wally she appears in @givenchy, wrapped in an enormous pale-pink cape of torn organza. I love that detail. Not because every tear needs to “represent” something, but because something visibly torn can still become monumental.

The act ends with an aria about leaving. She leaves. And then, of course, she comes back.

#celinedion #givenchy taken in Plenitude Arena by @evanthiamaria

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24 days ago

ACT III: WHEN LOVE IS NOT ENOUGH

Act III is the shortest act, but for me it may be the most precise.

It starts with S’il suffisait d’aimer. Even the grammar hurts. If loving were enough. Not “love is enough” or “love will save us”. IF. The whole song exists inside that condition.

Then comes Ziggy, a story about loving someone you cannot possess, cannot change and cannot make love you in the way you want. There is something very mature in that sequence. Love can be enormous and still have limits. It can be true and still not alter reality.

And then, after two songs about the insufficiency of love, comes Courage. Not another love song. That transition is everything. When love cannot repair the world for us, something else has to carry us through it.

And I keep thinking about the @tomford by Haider Ackermann look here. It is difficult to place into one category: gown or jumpsuit? Armour or glamour? Which feels strangely right next to Un garçon pas comme les autres.

I am not saying the clothes were designed as a literal interpretation of the song. I actually prefer not to make fashion that simple. But visually, I love that the look refuses one easy definition. Just like the act itself refuses the easy idea that love automatically solves everything. Sometimes it doesn’t. Sometimes what remains is courage.

#celinedion #tomford taken in Plenitude Arena by @evanthiamaria

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24 days ago

ACT II: WHEN LOVE LEAVES THE PEDESTAL

Act II fascinates me because it starts with love as myth and ends with love as movement.

It opens with Hymn to the Sea and My Heart Will Go On. Love bigger than one life. Love surviving absence that turned into legend. And there is something fascinating about My Heart Will Go On occupying this almost mythological place now, knowing Céline famously did not want to record it at first. A song she initially resisted eventually became almost inseparable from her public mythology.

Then Beauty and the Beast, another kind of myth, where love transforms the way we see. But slowly the act comes down from the pedestal. The Chase introduces risk, desire and letting the guard down. J’irai où tu iras turns love into movement: I will go where you go.

Ne bouge pas resists the idea of becoming what the world expects from us. Don’t become sensible because someone tells you to. Don’t let words become a cage. And Dans un autre monde pushes that need for freedom further: hunger, movement, leaving, another world.

By the time we reach I Feel Love, I’m Alive, That’s the Way It Is and Sweet Dreams, love is no longer some distant romantic idea. It has entered the body. It is pulse. Instinct. Rhythm. Appetite.

And I’m Alive is almost impossible to hear innocently in 2026. Before Paris, @celinedion spoke about what she owes the people who have followed her all these years: “They paid for tickets. They bought my records. They gave me that luxury. So the least I can do is tell them that I’m alive.” Those two words have changed with time.

And that is exactly why @schiaparelli makes so much sense here. The custom look draws on a 1937 design, so like @dior in Act I, it begins with an archive. But Dior was sculptural, almost ceremonial. Schiaparelli puts the body into motion. Strong shoulders. Trousers. Gold embroidery. Almost armour. The clothes don’t ask to be admired from a distance. They want to move.

Act II begins with a love that survives death and ends with a body that refuses to stand still.

And somewhere in between, Céline goes from icon to pure energy.

#celinedion #schiparelli taken in Plenitude Arena by @evanthiamaria

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24 days ago

I haven’t been able to stop thinking about the way this concert was built. Not just as a setlist, but as a text. Four acts, an encore, five completely different fashion languages.

So I did the perfectly normal thing after a @celinedion concert and started reading it like literature.

ACT I: THE SELF BENEATH THE COSTUME

Act I begins with On ne change pas, asking what remains of us after years, roles, expectations, success, loss and reinvention. The song is full of costumes, appearances, the selves we learn to perform. Céline walks out in @dior, in a silhouette that itself comes from history: a contemporary reworking of archival couture. I love that tension! A song about the self beneath the costume, performed in a costume carrying its own past.

Then there is @boucheron ‘s The Address, built around another kind of inheritance: place. Inspired by 26 Place Vendôme, its geometry echoes the square seen from above. Even the name feels perfect here: The Address. Knowing where you come from, carrying history with you, making an inherited form your own.

Then Destin turns identity into movement: roads, borders, stages, lights, a life shaped by music and by people waiting on the other side of the stage.

Because You Loved Me shifts the focus again. The self is not built alone. We become who we are partly because somebody held us up, believed in us, carried us when we could not carry ourselves.

Encore un soir changes the meaning of time. One more evening. One more hour. One more song. One more moment. It is impossible to separate it completely from René, but Céline herself gave it a wider meaning too: another kiss, another day of life, another show. Time becomes precious precisely because it cannot be kept.

Les derniers seront les premiers and Tout l’or des hommes strip away status and material value until The Power of Love is almost the only thing left.

That is how I read Act I. If you remove the fame, the years, the image, the clothes, the mythology, what remains? Memory. Gratitude. Love. And the same person somewhere underneath.

Maybe On ne change pas after all. On met juste les costumes d’autres et voilà.

#celinedion #dior #boucheron taken in Plenitude Arena by @evanthiamaria

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24 days ago

Lights, camera, magic. ✨

Paris • Disney • Disneyland • Magic taken in Disneyland Paris by @evanthiamaria

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a month ago

Et puis, on descend.

#paris #arcdetriomphe taken in Arc de Triomphe by @evanthiamaria

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a month ago

Bonjour, Paris. À Paris.

#paris #ParisJeTAime taken in Paris, France by @evanthiamaria

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a month ago