\t\t\t\t\tRosal\u00eda at the Kia Forum in Inglewood, California, June 29, 2026<\/span><\/p>\n \t\t\t\t\t\t\t\t\tBeth Savaro<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tRosal\u00eda\u2019s show is delightfully cross-disciplinary, bringing in aspects of ballet and classical music. But at the very beginning of all these cross-referencing moments, there is an actual cross. That occurs right at the start, when some workers bring out a large, upright, white crate, marked \u201cFragile\u201d\u2026 the contents of which are, of course, Rosal\u00eda, standing on a small pedestal in a tutu. When the box she\u2019s been carted in in is fully unfolded, the lid attachment ensures that it is laid out in the shape of a cross. Fortunately, the Christian symbolism isn\u2019t too heavy-handed from there. The show is going to be way too visually busy to stay that sectarian, when Rosal\u00eda has plans to evoke everything from flamenco culture to Bob Fosse over the ensuing 110 minutes.<\/p>\n \n\tThe opening stretch is the show\u2019s most static, although there\u2019s not a dull moment in it, as Rosal\u00eda performs the first five songs from the mostly stately \u201cLux,\u201d almost in order. Her entrance has been preceded by an overture performed by an orchestra of about 20 pieces, placed in the middle of the arena\u2019s floor. The neo-classical nature of this first \u201cLux\u201d section is augmented by occasional blasts of deep, electronic bass sounds. Those thrilling Sensurround effects might make you fear that vibrations frpom the low, low, low rumbling might interfere with planes passing over the Forum to land at LAX, but that is somebody else\u2019s problem.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tRosal\u00eda at the Kia Forum, June 29, 2026<\/span><\/p>\n \t\t\t\t\t\t\t\t\tChris Willman\/Variety<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tThe upshot of this first section is that while other pop stars have been partying in Ibiza, Rosal\u00eda has been taking lessons. Lessons in standing and dancing on pointe, and lessons in being able to operatically deliver what credibly sounds like an aria, in her Italian-language original, \u201cMio Cristo Piange Diamante.\u201d She could coolly pretend that she\u2019s always been this accomplished in the fine arts, but Rosal\u00eda took an early time out to thank two people in the audience, a choreographer she\u2019s worked with for eight years, Charm La\u2019Donna, and a voice teacher she\u2019s had for 10, Eric Vetro, while noting, \u201cI only had one month and a half to learn how to dance in pointe shoes for the first time in my life, and it was one of the scariest things I ever did, I\u2019ve ever tried in my life. But I know it\u2019s gonna be a lifelong process. I\u2019ve accepted it, just as it is with my voice.\u201d These acknowledgements of the challenges she\u2019s faced in learning these classical traditions immediately took the piss out of any pretentiousness she might face for having had the nerve to adopt them.<\/p>\n \n\tThe show did not stay strictly in the realm of the philharmonic much past the half-hour mark, although, thankfully, the orchestra itself was around for the long haul. A natural transition point arrived with \u201cBerghain,\u201d the first single from \u201cLux,\u201d which starts off as a symphony and ends with a Bjork lament and profane Mike Tyson sample (both reproduced for the stage version). \u201cHis rage is my rage,\u201d she sang, as the electronica took over in the second half of the song, and the orchestra pit turned into a rave, with the string players waving their bows in the air like they just didn\u2019t care. Rosal\u00eda had just gone through her first costume change, exchanging the all-white garb of the novitiate for a sleek black dress, and she affirmed the mood shift with a call to action: \u201cYou didn\u2019t come to this show just to cry. You came to shake some ass,\u201d she insisted \u2014 probably not being too presumptuous on behalf of an audience that had been reared on her more conventional earlier albums. The singer reverted to a more clearly pop-based \u201cMotomami\u201d form for the next stretch\u2026 until it was time to cover Frankie Valli.<\/p>\n \n\tCover Frankie Valli? That\u2019s right: Her rendition of \u201cCan\u2019t Take My Eyes Off of You\u201d had Rosal\u00eda positioning herself as a painting in an art museum, gazed upon from behind a rope-chain by a couple dozen fans who\u2019d been selected to come on stage and portray gallery-goers. Before anyone had too long a time to ponder what statement was being made here about the artist\/subject gaze, it was on to more provocative stuff. Prior to the next number, \u201cLa Perla,\u201d her takedown of a not-so-swell guy, she led into that with the confessional segment with Karol G, turning the remove of the museum into a church where no secrets are kept. If what\u2019s good for the goose is also good for the gander, then maybe Rosal\u00eda should confess something about her own love life, on the last night of the tour, if not sooner. But for the time being, everyone got a kick out of Karol taking a spot that previously had been taken on tour by guests from Marcello Hernandez to Maggie Rogers (whose MSG tale of dating an alleged cheater who wrote for the New York Times set off quite a journalistic witch hunt in mid-June, but that\u2019s another story).<\/p>\n \n\t\u201cLook, if there\u2019s anything you\u2019ve been wanting to get off your chest, something where you just think, \u2018This is a safe space for me\u2019\u2026\u201d Rosal\u00eda said in Spanish, as opposed to the English she spoke in for most of the evening. Karol was well-prepared for the drill, explaining how her significant other became oddly avoidant around his birthdays, even though \u201cwho wouldn\u2019t want to celebrate their birthday with their partner?\u201d She was \u201cwaiting for the excuse for the next year to not <\/em>be there for the birthday, and then the next year to not<\/em> be there, and the next year to not<\/em> be there\u2026 Every year was like that, right? There was always a fucking excuse. \u2026 What\u2019s the prayer I\u2019m supposed to say, to sort this out?\u201d For the fourth and final birthday, a trip was planned, and at the airport, \u201che tells me, \u2018Take these suitcases down.\u2019 I just stood there. No way, you jerk. But I got off that flight \u2014 and I mean, I really got off it\u2026 We didn\u2019t celebrate it or anything else.\u201d Rosal\u00eda tried drawing out a few more details than Karol seemed ready to go into, before putting a punchline on it, saying (again, in Spanish): \u201cGirl, I have to say that in my country, when someone is a real jerk \u2014a piece of work \u2014 we say, \u2018What a gem that one is.\u2019 We\u2019re going to celebrate bigger and better than any birthday ever. Because you got rid of that son-of-a-bitch \u2018gem.’\u201d<\/p>\n \n\tFor everyone on hand for night 1 at the Forum, it felt like being present at the formation of the Latin Superstar Diva Avengers. Or so we could hope.<\/p>\n \n\tThat was not the end of the night\u2019s conversation, as, during a balladic segment where Rosal\u00eda laid atop a piano, sipping champagne with her accompanist in advance of \u201cSauvignon Blanc,\u201d she ended up in a back-and-forth with a birthday boy in the audience named Adrian who turned out to be an instructor who said he teaches a \u201cmaster class\u201d on the album \u201cLux.\u201d The album is rich enough that this wouldn\u2019t strike anyone as difficult to believe; the only question is whether he\u2019ll be able to add an additional summer school adjunct course just about this tour.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tRosal\u00eda at the Kia Forum in Inglewood, California, June 29, 2026<\/span><\/p>\n \t\t\t\t\t\t\t\t\tBeth Savaro<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tIf the \u201cLux\u201d tour should end up as coursework of some sort, the most class time might be spent on Rosal\u00eda\u2019s performance of \u201cLa Perla,\u201d which has choreography already familiar to millions of Americans through shared video clips. In a gambit that Bob Fosse could be proud of, the singer\u2019s troupe of dancers dons all-black, so as to disappear into the woodwork, except for their long white gloves. As the one number in the show choreographed by the Greek master Dimitris Papaioannou, the \u201cLa Perla\u201d routine creates masterful illusions in which those seemingly detached forearms come together to form shapes around the singer \u2014 a halo, a veil, a frame, even what looks like a metronome as the whole ensemble tilts in one direction. It\u2019s worth the price of admission.<\/p>\n \n\tThat is not to undervalue the rest of the dazzling choreography that takes place over the course of the night, most of it designed by the trio (La)Horde, who are part of the Ballet National de Marseilles, and the aforementioned Charm La\u2019Donna. None of these dances are very alike, and few of them are ostensibly very over-exuberant or showy, but they all contribute to a vibe that feels in turn sly, soul-searching or just friendly. Rosal\u00eda is so into God in these songs, or at least the idea of God as a concept filtered through his female saints, that you aren\u2019t necessarily prepared for her to go sexy on us. And she doesn\u2019t, a lot. But in \u201cSaoko,\u201d the camera goes in for a closeup of a brief bit of twerking as the singer, clad in what looks like a high-fashion designer\u2019s idea of a black widow\u2019s dress, turns out to be wearing hot pink shorts underneath. At the very end of the show, in \u201cFocu \u2019Ranni,\u201d\u00a0she and the dancers are all wearing angel wings, in keeping with the night\u2019s recurring spiritual themes, and yet the hoofers are also wearing the equivalent of mom jeans. That exemplifies how there is a sort of coziness to this show, and to Rosal\u00eda\u2019s very presence, no matter how ornate and lofty it gets.<\/p>\n \n\tAnother clear highlight was \u201cLa Rumba del Perd\u00f3n,\u201d which found Rosal\u00eda finally visiting the orchestra in the middle of the arena, and treating it as a B-stage. She spoke of her love of flamenco and, while not doing a formal dance for that segment, kicked up her heels nonetheless in an irresistible violet dress. On her way out to that remote spot, she sang \u201cDios Es Un Stalker\u201d (\u201cGod Is a Stalker\u201d) while strolling through a fenced-off passageway through the middle of the auditorium, occasionally putting the microphone into the face of a fervent fan. A performer sometimes gets lucky with crowd interaction moments like that and sometimes doesn\u2019t. But few of us will soon forget the sight of the guy dressed as a nun, screaming the lyrics into a mic that Rosal\u00eda admirably did not pull away, apparently enjoying his joyful catharsis as much as the rest of us.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tRosal\u00eda at the Kia Forum, June 29, 2026<\/span><\/p>\n \t\t\t\t\t\t\t\t\tChris Willman\/Variety<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n \n\tAt the very end of the show, in \u201cFocu \u2019Ranni,\u201d\u00a0she and the dancers are all wearing angel wings, in keeping with the night\u2019s recurring spiritual themes. Yet these heavenly hoofers were also wearing what looked like mom jeans, and indulging in a light-hearted pillow fight. That exemplifies how there is a sort of coziness to this show, and to Rosal\u00eda\u2019s surprisingly unpretentious presence, no matter how ornate and lofty it gets.<\/p>\n \n\tThere are a lot of images or sounds at cross-purposes on the \u201cLux\u201d tour, and always delightfully so. I think of the moment when a strobe-light contraption is lowered over the orchestra during a particularly dance-oriented piece of music\u2026 and then it starts swinging back and forth, emitting smoke, having turned from a light fixture into what liturgical churchgoers will recognize as an incense-dispensing thurible. Like that massive light fixture turned holy smoke machine, this is one giant Transformer of a show. And if you have a love for classical traditions and<\/em> everything a modern arena pop show is expected to offer, you may feel like you\u2019ve landed somewhere on the heaven-and-earth continuum, too. <\/p>\n \t\t\t\t\t\t \t\t\t\t\tRosal\u00eda at the Kia Forum in Inglewood, California, June 29, 2026<\/span><\/p>\n \t\t\t\t\t\t\t\t\tBeth Savaro<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<\/div>\n Mais Not\u00edcias<\/a><\/p>\n Home Page – In\u00edcio<\/a><\/p>\n![\"\"](\"https:\/\/variety.com\/wp-content\/themes\/pmc-variety-2020\/assets\/public\/lazyload-fallback.gif\")
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