It was date night for the baby boomers at the Bryce Jordan Center last night as Sarah Brightman's Harem World Tour took over the arena. The diva was out in full force with a 15-piece band, eight belly dancers and no fewer than nine costume changes.

The evening started off with the title song from her latest album, Harem, as Brightman emerged like a ghost from the darkened tent that encircled the entire stage, lit only when she hit the end of the catwalk. Next thing I knew, she was stripping off her flowing champagne-colored silk gown to reveal thigh-high boots and lots of sequins for a dance break.

Yes, there were dance breaks.

Shortly after came the first stunt of the night, in which Brightman was elevated on an eight foot tall platform in the middle of the stage. She was wearing gold, lit in shades of yellow and looked like a singing, gilded statue, worshipped by her faithful dancers.

Oh, Sarah, you're a legend in your own mind.

"I feel happy and privileged to be on the grounds of such a well-renowned university," Brightman said. "I think this next song is about the frailties of humankind."

Two men playing acoustic guitars appeared at the end of the catwalk and began playing "Dust in the Wind." Brightman strutted down the catwalk, dripping in crystals and sequins, royally acknowledging the audience as she sang.

To capture the irony of this performance, I'll quote my concertmate, who said, "I really can't clap for that."

The crowd loved it, though.

Next, Brightman floated into her rendition of Queen's "Who Wants to Live Forever."

Listening to her versions of those two songs was like listening to "White Christmas" on The Three Tenors Christmas: very, very odd.

Soon, Brightman returned to her forte, actual operatic music. She was very much the prima donna during "La Luna," lit by at least four spotlights against a night sky backdrop. Her hauntingly beautiful voice earned the rapt attention of the entire audience, which continued into "Nessun Dorma."

The second act opened with Brightman back on her raised platform, this time sporting wings. After returning to the ground and leaving the wings behind, there was a Christina Aguilera "Dirrty" moment as Brightman showed off her slinky chainmail dress, and her dancers stripped off their long skirts to reveal thigh-high black latex boots and short schoolgirl skirts.

During "What a Wonderful World," yet another questionable song choice for Brightman, she sang from a swing over the catwalk, showered in tissue paper rose petals.

At this point, she abandoned her genre-stretching antics and broke into "The Phantom of the Opera" and "Wishing You Were Somehow Here Again," basking in the glow of about 28 spotlights.

After the finale of "Time to Say Goodbye (Con Te Partirò)," Brightman returned for two encores, as demanded by the cheering and stomping fans.

The final stunt of the night came during "A Question of Honour," the last encore, as Brightman flew and flipped above her dancers, topped only by a really loud pyro finale.

When Brightman stuck to her area of expertise, the concert was amazing; the rest of the time it was something like what I envision diva Celine Dion's concerts to be, without the chest pounding or Dion's eardrum-bursting voice.