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New book by Vito Luprano on january 12th
Already in the Quebec media : the way Celine stopped the english career of Lara Fabian.
"At the height of her fame, Céline Dion threatened to leave Sony Music when she learned the record label was planning to offer Lara Fabian a contract to launch her career in the United States.
This is revealed by Vito Luprano, René Angélil's former right-hand man, in *It's All Coming Back To Me... From My Humble Beginnings to the True Story Behind Céline Dion's Career*, a book to be released on January 12, the contents of which were reportedly approved by Céline Dion's lawyers.
"If that happens, I won't record for Sony anymore," Céline Dion allegedly said in 1997 during a conference call that also included Luprano, then Vice President of A&R at Sony Music Canada, René Angélil, and Polly Anthony, President of 550 Music, the Sony Music subsidiary that wanted to sign the Belgian-Quebec singer.
PHOTO PROVIDED BY VITO LUPRANO
Following this ultimatum, Sony Music executives sided with Céline Dion, and Lara Fabian ultimately never had the chance to try and win over the American market.
"She was mean"
According to Vito Luprano, Céline Dion was hurt by comments made by Lara Fabian after the 1988 Eurovision Song Contest final. Representing Switzerland, the Quebec singer won the prestigious competition, while her rival, representing Luxembourg, finished in fourth place.
Céline Dion at Eurovision, 1988.
Céline Dion at Eurovision, 1988. ARCHIVE PHOTO
Lara Fabian had then claimed that she was a better singer than Céline, Vito Luprano recounts in his book.
“She was really mean to Céline for no reason. René and I told her to ignore her, but it broke Céline’s heart,” Mr. Luprano said in an interview with the Journal.
Sony Music asked him to intercede with Céline Dion, but he says he refused. “She was right to do that. They called me to try and convince her, but I said no, I can’t convince her.”
No war, Lara had said
This account seems to contradict statements Lara Fabian made to European media outlets and the Journal in 2024. She denied that a rivalry existed between the two singers.
“I don’t believe in this war that was invented by the media.” “I’m not putting all the media in the same category, but there are two or three people involved in this story who have done harm, not just to her or just to me, but to all the people who love us and who felt forced to choose sides,” she told the Journal.
Describing herself as a great admirer of Céline Dion, Lara Fabian also stated that she has long hoped to sing a duet with her, a dream she still cherishes today.
In *It’s All Coming Back To Me... From My Humble Beginnings to the True Story Behind Céline Dion’s Career*, Vito Luprano recounts Céline Dion’s phenomenal rise to fame as he experienced it alongside the singer and her manager and husband, René Angélil. Over a period of 23 years, Vito Luprano was involved in the recording of 21 of Céline’s albums as executive producer.
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New book by Vito Luprano on january 12th, 2026'It's All Coming Back To Me'
Started by
actofcontrition
, Jan 06 2026 07:21 AM
#1
Posted 06 January 2026 - 07:21 AM
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#2
Posted 06 January 2026 - 10:00 AM
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On 12/01/2026 Vito Luprano will release a book called 'It's All Coming Back To Me' From My Humble Beginnings to the True Story Behind Céline Dion’s Career
Vito Luprano’s It’s All Coming Back to Me Now arrives not as a victory lap, but as a reckoning. Fast-paced, candid, and emotionally unsettled, the book reads like a man finally allowing himself to tell his version of a story long dominated by larger-than-life figures and corporate narratives. It is not a polished myth of success, nor a confessional steeped in self-pity. Instead, Luprano offers a restless memoir shaped by ambition, proximity to greatness, and the lingering ache of having been essential yet ultimately expendable.
The book opens far from red carpets and recording studios, beginning in Bari, Italy, where Luprano was born into modest circumstances. These early chapters establish an important emotional baseline: hunger. Not merely financial hunger, but a hunger for movement, recognition, and escape. Luprano portrays himself as a young man driven less by entitlement than by instinct, propelled forward by curiosity and an unshakable belief that life could be larger than the one he inherited. This grounding gives credibility to the whirlwind that follows. When fame and power arrive, they do so in sharp contrast to the restraint of his beginnings.
At the center of the book is Luprano’s account of Céline Dion’s transformation from a visibly awkward, raw-talented teenager into a poised international superstar. These chapters are among the most compelling, not because they recycle well-known milestones, but because they focus on process rather than mythology. Luprano emphasizes evolution over destiny. Image, repertoire, presentation, confidence—nothing, he suggests, was inevitable. Choices were debated, risks were taken, and identities were shaped deliberately. His pride is evident, but it is not triumphalist; it is tinged with a quiet frustration that these contributions were later minimized or reassigned.
This frustration crystallizes in his depiction of René Angélil. Luprano does not deny Angélil’s brilliance or devotion to Dion, nor does he attempt to dismantle his legacy. Instead, he frames their relationship as one defined by tension, rivalry, and imbalance. The “push and pull” between them is presented as both creative and corrosive. Luprano believes Angélil unfairly claimed credit for decisions and transformations that were, at minimum, collaborative. What emerges is not a villainous caricature but a portrait of two powerful personalities operating in overlapping territory, where acknowledgment was currency and silence was strategy.
One of the book’s strengths is its refusal to simplify emotional outcomes. Luprano’s sense of betrayal is palpable, but it coexists with admiration, gratitude, and even lingering affection. His ultimate gratitude toward Céline Dion—expressed subtly but persistently—anchors the narrative. The decision to title each chapter after a song reinforces this emotional architecture. It is a structural homage, but also a reminder that music, more than people or institutions, is the constant thread through his life.
Luprano’s personal life is addressed with surprising bluntness. His three failed marriages are not explored for scandal, but as evidence of imbalance. Success, he suggests, did not ruin his relationships so much as distract him from tending them. These passages are spare and unsentimental, conveying regret without theatrics. The emotional throughline is absence: being physically present but psychologically elsewhere, always oriented toward the next project, the next crisis, the next negotiation.
The most jarring moment in the book comes with Luprano’s firing from Sony in 2009. He recounts this episode with genuine astonishment, portraying it as a rupture that shattered his sense of professional identity. The corporate logic behind the decision remains opaque, and perhaps that is the point. In an industry where loyalty is often rhetorical, Luprano confronts the reality that past success offers no immunity. His subsequent depression and feelings of betrayal are described plainly, without melodrama, lending these chapters an uncomfortable authenticity.
From 2012 onward, Luprano positions himself as an independent figure with Lupo One Productions, fully aware that his most influential years are behind him. This acknowledgment is one of the book’s most mature elements. Rather than chasing relevance, he reflects on legacy—what remains when proximity to power fades. There is melancholy here, but also clarity. Luprano no longer measures worth by charts or titles; instead, he measures it by memory, impact, and endurance.
One of the book’s quieter pleasures is its gallery of artists from music and cinema, many of whom have since passed away. These appearances are brief but evocative, functioning like snapshots rather than full biographies. They reinforce the book’s central theme: impermanence. Fame, relationships, institutions—all dissolve over time, leaving behind fragments that must be actively remembered if they are to survive.
Stylistically, It’s All Coming Back to Me Now favors momentum over depth. Chapters move quickly, sometimes at the expense of introspection. Readers seeking extensive psychological analysis or industry exposé may find themselves wanting more. Yet this speed feels intentional. The book mirrors the pace of the life it describes—always moving forward, rarely pausing long enough to heal. Beneath the brisk surface, however, there is a clear sense of deep emotional wounding, never fully articulated but consistently felt.
In the end, this memoir is less about settling scores than about reclaiming voice. Luprano does not ask for absolution, nor does he demand recognition. He simply insists on being part of the story as it is remembered. His final gesture of gratitude toward Céline Dion underscores this humility. Whatever conflicts existed, the music—and the journey it enabled—remains sacred.
It’s All Coming Back to Me Now is a compelling, imperfect, and honest account of a life lived adjacent to greatness. It reminds readers that history is rarely owned by a single narrator, and that behind every polished legend are contributors whose stories are still waiting to be told.
The book will be available on January 12, 2026 on Amazon.
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Vito Luprano’s It’s All Coming Back to Me Now arrives not as a victory lap, but as a reckoning. Fast-paced, candid, and emotionally unsettled, the book reads like a man finally allowing himself to tell his version of a story long dominated by larger-than-life figures and corporate narratives. It is not a polished myth of success, nor a confessional steeped in self-pity. Instead, Luprano offers a restless memoir shaped by ambition, proximity to greatness, and the lingering ache of having been essential yet ultimately expendable.
The book opens far from red carpets and recording studios, beginning in Bari, Italy, where Luprano was born into modest circumstances. These early chapters establish an important emotional baseline: hunger. Not merely financial hunger, but a hunger for movement, recognition, and escape. Luprano portrays himself as a young man driven less by entitlement than by instinct, propelled forward by curiosity and an unshakable belief that life could be larger than the one he inherited. This grounding gives credibility to the whirlwind that follows. When fame and power arrive, they do so in sharp contrast to the restraint of his beginnings.
At the center of the book is Luprano’s account of Céline Dion’s transformation from a visibly awkward, raw-talented teenager into a poised international superstar. These chapters are among the most compelling, not because they recycle well-known milestones, but because they focus on process rather than mythology. Luprano emphasizes evolution over destiny. Image, repertoire, presentation, confidence—nothing, he suggests, was inevitable. Choices were debated, risks were taken, and identities were shaped deliberately. His pride is evident, but it is not triumphalist; it is tinged with a quiet frustration that these contributions were later minimized or reassigned.
This frustration crystallizes in his depiction of René Angélil. Luprano does not deny Angélil’s brilliance or devotion to Dion, nor does he attempt to dismantle his legacy. Instead, he frames their relationship as one defined by tension, rivalry, and imbalance. The “push and pull” between them is presented as both creative and corrosive. Luprano believes Angélil unfairly claimed credit for decisions and transformations that were, at minimum, collaborative. What emerges is not a villainous caricature but a portrait of two powerful personalities operating in overlapping territory, where acknowledgment was currency and silence was strategy.
One of the book’s strengths is its refusal to simplify emotional outcomes. Luprano’s sense of betrayal is palpable, but it coexists with admiration, gratitude, and even lingering affection. His ultimate gratitude toward Céline Dion—expressed subtly but persistently—anchors the narrative. The decision to title each chapter after a song reinforces this emotional architecture. It is a structural homage, but also a reminder that music, more than people or institutions, is the constant thread through his life.
Luprano’s personal life is addressed with surprising bluntness. His three failed marriages are not explored for scandal, but as evidence of imbalance. Success, he suggests, did not ruin his relationships so much as distract him from tending them. These passages are spare and unsentimental, conveying regret without theatrics. The emotional throughline is absence: being physically present but psychologically elsewhere, always oriented toward the next project, the next crisis, the next negotiation.
The most jarring moment in the book comes with Luprano’s firing from Sony in 2009. He recounts this episode with genuine astonishment, portraying it as a rupture that shattered his sense of professional identity. The corporate logic behind the decision remains opaque, and perhaps that is the point. In an industry where loyalty is often rhetorical, Luprano confronts the reality that past success offers no immunity. His subsequent depression and feelings of betrayal are described plainly, without melodrama, lending these chapters an uncomfortable authenticity.
From 2012 onward, Luprano positions himself as an independent figure with Lupo One Productions, fully aware that his most influential years are behind him. This acknowledgment is one of the book’s most mature elements. Rather than chasing relevance, he reflects on legacy—what remains when proximity to power fades. There is melancholy here, but also clarity. Luprano no longer measures worth by charts or titles; instead, he measures it by memory, impact, and endurance.
One of the book’s quieter pleasures is its gallery of artists from music and cinema, many of whom have since passed away. These appearances are brief but evocative, functioning like snapshots rather than full biographies. They reinforce the book’s central theme: impermanence. Fame, relationships, institutions—all dissolve over time, leaving behind fragments that must be actively remembered if they are to survive.
Stylistically, It’s All Coming Back to Me Now favors momentum over depth. Chapters move quickly, sometimes at the expense of introspection. Readers seeking extensive psychological analysis or industry exposé may find themselves wanting more. Yet this speed feels intentional. The book mirrors the pace of the life it describes—always moving forward, rarely pausing long enough to heal. Beneath the brisk surface, however, there is a clear sense of deep emotional wounding, never fully articulated but consistently felt.
In the end, this memoir is less about settling scores than about reclaiming voice. Luprano does not ask for absolution, nor does he demand recognition. He simply insists on being part of the story as it is remembered. His final gesture of gratitude toward Céline Dion underscores this humility. Whatever conflicts existed, the music—and the journey it enabled—remains sacred.
It’s All Coming Back to Me Now is a compelling, imperfect, and honest account of a life lived adjacent to greatness. It reminds readers that history is rarely owned by a single narrator, and that behind every polished legend are contributors whose stories are still waiting to be told.
The book will be available on January 12, 2026 on Amazon.
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#3
Posted 06 January 2026 - 12:38 PM
tshlw
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I just feel trying to make a buck and will fit the narrative to his version of things. Can't see Celine saying don't sign her cause she was mean to me almost 10 years ago. I also thought Lara was involved with Walter A and that relationship went bad and had something to do with her career not taking off. Cause this makes Celine look very petty.
We know he already had crap to say about Rene in a French book done few years ago. Yup found post where member who read book talked about it http://www.celinedio...e#entry2436848. It even said he showed up at the funeral and tried to say things about Rene to Celine. Which to me shows what an #ss he is. Even if you have something to say about Rene you do not show up to his funeral to do it. In this book he really tried to take credit for everything and seems a lot of inconsistencies.
Easy to now write a book when so many of those you talk about have passed and can't defend themselves. And what credit is Rene taking that should be Vito's, Rene did discover Celine and was her manager. He never took credit for all her albums or the such. Rene and Celine have always given credit to those who helped her get where she is. Now yes the media is only going to focus on both of them. And now with Rene gone just Celine herself when talk about her career, that is the way of showbusiness.
The singer gets all the credit for their career and those in the shadows don't really get mentioned, Rene did because he was Celine's husband if he had only been her manager I doubt we would have been talked about as much. Celine is better than others I feel at stating she did not do it all alone. Even now many articles don't even mention Rene, and Celine given credit for her career when we know many were involved to make her what she became. But this happens with all artists, we know the did not do it alone but articles only focus on them.
Fine he wants his 5 minutes for his contribution but there was clear inaccuracies in the other book he was interviewed for so not giving this much weight feel he will oversell himself. I will be very curious if Celine will have anything to say or keep quiet to not give this any more publicity.
We know he already had crap to say about Rene in a French book done few years ago. Yup found post where member who read book talked about it http://www.celinedio...e#entry2436848. It even said he showed up at the funeral and tried to say things about Rene to Celine. Which to me shows what an #ss he is. Even if you have something to say about Rene you do not show up to his funeral to do it. In this book he really tried to take credit for everything and seems a lot of inconsistencies.
Easy to now write a book when so many of those you talk about have passed and can't defend themselves. And what credit is Rene taking that should be Vito's, Rene did discover Celine and was her manager. He never took credit for all her albums or the such. Rene and Celine have always given credit to those who helped her get where she is. Now yes the media is only going to focus on both of them. And now with Rene gone just Celine herself when talk about her career, that is the way of showbusiness.
The singer gets all the credit for their career and those in the shadows don't really get mentioned, Rene did because he was Celine's husband if he had only been her manager I doubt we would have been talked about as much. Celine is better than others I feel at stating she did not do it all alone. Even now many articles don't even mention Rene, and Celine given credit for her career when we know many were involved to make her what she became. But this happens with all artists, we know the did not do it alone but articles only focus on them.
Fine he wants his 5 minutes for his contribution but there was clear inaccuracies in the other book he was interviewed for so not giving this much weight feel he will oversell himself. I will be very curious if Celine will have anything to say or keep quiet to not give this any more publicity.
'I am, in life and death, the woman of only one man.'
Celine Dion My Story, My Dream
Celine Dion My Story, My Dream
#4
Posted 06 January 2026 - 02:39 PM
CélineI'mAlive
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tshlw, on 06 January 2026 - 12:38 PM, said:
I just feel trying to make a buck and will fit the narrative to his version of things. Can't see Celine saying don't sign her cause she was mean to me almost 10 years ago. I also thought Lara was involved with Walter A and that relationship went bad and had something to do with her career not taking off. Cause this makes Celine look very petty.
We know he already had crap to say about Rene in a French book done few years ago. Yup found post where member who read book talked about it http://www.celinedio...e#entry2436848. It even said he showed up at the funeral and tried to say things about Rene to Celine. Which to me shows what an #ss he is. Even if you have something to say about Rene you do not show up to his funeral to do it. In this book he really tried to take credit for everything and seems a lot of inconsistencies.
Easy to now write a book when so many of those you talk about have passed and can't defend themselves. And what credit is Rene taking that should be Vito's, Rene did discover Celine and was her manager. He never took credit for all her albums or the such. Rene and Celine have always given credit to those who helped her get where she is. Now yes the media is only going to focus on both of them. And now with Rene gone just Celine herself when talk about her career, that is the way of showbusiness.
The singer gets all the credit for their career and those in the shadows don't really get mentioned, Rene did because he was Celine's husband if he had only been her manager I doubt we would have been talked about as much. Celine is better than others I feel at stating she did not do it all alone. Even now many articles don't even mention Rene, and Celine given credit for her career when we know many were involved to make her what she became. But this happens with all artists, we know the did not do it alone but articles only focus on them.
Fine he wants his 5 minutes for his contribution but there was clear inaccuracies in the other book he was interviewed for so not giving this much weight feel he will oversell himself. I will be very curious if Celine will have anything to say or keep quiet to not give this any more publicity.
We know he already had crap to say about Rene in a French book done few years ago. Yup found post where member who read book talked about it http://www.celinedio...e#entry2436848. It even said he showed up at the funeral and tried to say things about Rene to Celine. Which to me shows what an #ss he is. Even if you have something to say about Rene you do not show up to his funeral to do it. In this book he really tried to take credit for everything and seems a lot of inconsistencies.
Easy to now write a book when so many of those you talk about have passed and can't defend themselves. And what credit is Rene taking that should be Vito's, Rene did discover Celine and was her manager. He never took credit for all her albums or the such. Rene and Celine have always given credit to those who helped her get where she is. Now yes the media is only going to focus on both of them. And now with Rene gone just Celine herself when talk about her career, that is the way of showbusiness.
The singer gets all the credit for their career and those in the shadows don't really get mentioned, Rene did because he was Celine's husband if he had only been her manager I doubt we would have been talked about as much. Celine is better than others I feel at stating she did not do it all alone. Even now many articles don't even mention Rene, and Celine given credit for her career when we know many were involved to make her what she became. But this happens with all artists, we know the did not do it alone but articles only focus on them.
Fine he wants his 5 minutes for his contribution but there was clear inaccuracies in the other book he was interviewed for so not giving this much weight feel he will oversell himself. I will be very curious if Celine will have anything to say or keep quiet to not give this any more publicity.
Edited by CélineI'mAlive, 06 January 2026 - 02:40 PM.
#5
Posted 06 January 2026 - 03:09 PM
actofcontrition
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Why another topic??
#6
Posted 06 January 2026 - 03:37 PM
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May try reading this after it comes out but I don't expect us to gain a lot from it. He seems interested in taking more credit for things that he may or may not have done. And now he's interested in releasing a book about his relationship with Celine and Renae more than 10 years after the fact? Strange.
#7
Posted 06 January 2026 - 04:20 PM
tshlw
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So Vito being interviewed by a Quebec TV show.
I don't like that seems just take what he says as gospel. i really want to know if Celine read it or knows all that is being said in it and truly gave her blessing when he says got her attorneys approval.
That story about Lara really makes Celine look petty and abused her power, but also does not make sense if Lara then did get signed. I do wonder if they think it won't get much traction so not worried.
I wonder if these interviewers fact check anything or just so happy to get what they think is "dirt" on Celine and Rene they will just believe it all.
I don't like that seems just take what he says as gospel. i really want to know if Celine read it or knows all that is being said in it and truly gave her blessing when he says got her attorneys approval.
That story about Lara really makes Celine look petty and abused her power, but also does not make sense if Lara then did get signed. I do wonder if they think it won't get much traction so not worried.
I wonder if these interviewers fact check anything or just so happy to get what they think is "dirt" on Celine and Rene they will just believe it all.
'I am, in life and death, the woman of only one man.'
Celine Dion My Story, My Dream
Celine Dion My Story, My Dream
#8
Posted 06 January 2026 - 04:36 PM
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tshlw, on 06 January 2026 - 04:20 PM, said:
So Vito being interviewed by a Quebec TV show.
I don't like that seems just take what he says as gospel. i really want to know if Celine read it or knows all that is being said in it and truly gave her blessing when he says got her attorneys approval.
That story about Lara really makes Celine look petty and abused her power, but also does not make sense if Lara then did get signed. I do wonder if they think it won't get much traction so not worried.
I wonder if these interviewers fact check anything or just so happy to get what they think is "dirt" on Celine and Rene they will just believe it all.
I don't like that seems just take what he says as gospel. i really want to know if Celine read it or knows all that is being said in it and truly gave her blessing when he says got her attorneys approval.
That story about Lara really makes Celine look petty and abused her power, but also does not make sense if Lara then did get signed. I do wonder if they think it won't get much traction so not worried.
I wonder if these interviewers fact check anything or just so happy to get what they think is "dirt" on Celine and Rene they will just believe it all.
It's really curious. Just when Céline seems to be reactivating, this book appears...
#9
Posted 07 January 2026 - 03:02 AM
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It's interesting. I'm quite sure Celine never liked Lara. The latter said numerous times that she was reaching to Celine, including that letter she wrote. But Celine never responded and never acknowledge her, which is telling. Celine is usually very sweet and responds to everyone reaching (think Mariah flowers).
However, saying she'd leave Sony if they signed up Lara is hard to believe. First of all, would it really be Celine's decision to change labels? She always said all such things were decided by Rene. Unless she told him beforehand. Then the question what exactly happened between them. Comments after Eurovision are not a believable reason for that. I'd only could imagine if there was some chemistry between Rene and Lara and then Celine would get jealous.
Didn't Walter also mention that Celine didn't like Lara?
However, saying she'd leave Sony if they signed up Lara is hard to believe. First of all, would it really be Celine's decision to change labels? She always said all such things were decided by Rene. Unless she told him beforehand. Then the question what exactly happened between them. Comments after Eurovision are not a believable reason for that. I'd only could imagine if there was some chemistry between Rene and Lara and then Celine would get jealous.
Didn't Walter also mention that Celine didn't like Lara?
#10
Posted 07 January 2026 - 03:06 AM
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tshlw, on 06 January 2026 - 04:20 PM, said:
That story about Lara really makes Celine look petty and abused her power, but also does not make sense if Lara then did get signed. I do wonder if they think it won't get much traction so not worried.
One theoretical explanation for this is that maybe Celine's original contract with Sony was close to the end, and they threatened to change the label. Somy didn't sign Lara, then Celine's contract was renewed for let's say another 10 years, and then they signed Lara because otherwise, Celine and Rene would have to break the new contract, so they were safe.
#11
Posted 07 January 2026 - 06:49 AM
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I am quite surprised about this book and what it supposedly says.
Why lie? Who can believe this?
Once this book goes on sale, there will surely be a statement from Céline's team, and Céline will surely have something to say and deny.
I am sorry that this is happening. And if it is true that they mention Céline and René in something so unbelievable.
I am a little shocked that Vito Luprano is supposedly telling these things.
Céline has always focused on her career and competed with herself. (her exact words)
Can you really imagine Céline at the height of her career making these kinds of comments and threatening to leave Sony?
I'm not going to say anything negative about anyone, but personally, I think it's science fiction.
Why lie? Who can believe this?
Once this book goes on sale, there will surely be a statement from Céline's team, and Céline will surely have something to say and deny.
I am sorry that this is happening. And if it is true that they mention Céline and René in something so unbelievable.
I am a little shocked that Vito Luprano is supposedly telling these things.
Céline has always focused on her career and competed with herself. (her exact words)
Can you really imagine Céline at the height of her career making these kinds of comments and threatening to leave Sony?
I'm not going to say anything negative about anyone, but personally, I think it's science fiction.
#12
Posted 07 January 2026 - 01:09 PM
Ororo Munroe
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Dreamy, on 07 January 2026 - 06:49 AM, said:
I am quite surprised about this book and what it supposedly says.
Why lie? Who can believe this?
Once this book goes on sale, there will surely be a statement from Céline's team, and Céline will surely have something to say and deny.
I am sorry that this is happening. And if it is true that they mention Céline and René in something so unbelievable.
I am a little shocked that Vito Luprano is supposedly telling these things.
Céline has always focused on her career and competed with herself. (her exact words)
Can you really imagine Céline at the height of her career making these kinds of comments and threatening to leave Sony?
I'm not going to say anything negative about anyone, but personally, I think it's science fiction.
Why lie? Who can believe this?
Once this book goes on sale, there will surely be a statement from Céline's team, and Céline will surely have something to say and deny.
I am sorry that this is happening. And if it is true that they mention Céline and René in something so unbelievable.
I am a little shocked that Vito Luprano is supposedly telling these things.
Céline has always focused on her career and competed with herself. (her exact words)
Can you really imagine Céline at the height of her career making these kinds of comments and threatening to leave Sony?
I'm not going to say anything negative about anyone, but personally, I think it's science fiction.
There is something wrong with all this story. I feel very bad for Celine, Rene passed away 10 years ago and to me, Vito Luprano is very disrepectful with spreading fake stories. Lara signed her contract with Sony in 1998/1999 she was very famous in France during 1997. Celine never stopped the career of Lara.
#13
Posted 08 January 2026 - 01:30 AM
jpatdeleon09
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I don’t believe Celine would blocked Lara LOL And Sony is not just the recording label that exists. There are many. Lara is just not meant to be international artist. I remember her song “Broken Vow’, I think that’s the only thing that made international.
#14
Posted 08 January 2026 - 02:44 AM
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Ororo Munroe, on 07 January 2026 - 01:09 PM, said:
There is something wrong with all this story. I feel very bad for Celine, Rene passed away 10 years ago and to me, Vito Luprano is very disrepectful with spreading fake stories. Lara signed her contract with Sony in 1998/1999 she was very famous in France during 1997. Celine never stopped the career of Lara.
No one could believe this, and there are many producers who have worked with Céline. None of them have said anything negative about her, and they all agree on the same things: her talent, how generous she is, etc.
Obviously, Vito Luprano and John Doelp have been Céline's executive producers for most of her discography.
And you're right, now that René is gone, this book is coming out.
Céline is afraid because supposedly someone is going to be hired by Sony and this singer is going to start her career in the United States.
Céline took two sabbatical years on the first day of 2000.
We know that she focused on being with René, who had just recovered from cancer, and on trying to get pregnant and become a mother.
What happened during those two sabbatical years with many artists who debuted in the United States obviously has nothing to do with Céline and René.
Managers work to promote their artists, as do record labels, and the public decides.
And the public decided at the time. The rest is history.
All of this, if Vito Luprano supposedly says it in his book, has no credibility.
Tommy Mottola was still the president of Sony Music. If all this were true, I think it would have been known, and neither René nor Céline would have had the power to silence what is being said.
Many people in the industry have spoken about both Céline and René, but no one has spoken about them in those terms.
Did John Doelp say something at the time or now?
Best regards,
#15
Posted 08 January 2026 - 03:49 AM
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Dreamy, on 08 January 2026 - 02:44 AM, said:
Indeed, of course not!
No one could believe this, and there are many producers who have worked with Céline. None of them have said anything negative about her, and they all agree on the same things: her talent, how generous she is, etc.
Obviously, Vito Luprano and John Doelp have been Céline's executive producers for most of her discography.
And you're right, now that René is gone, this book is coming out.
Céline is afraid because supposedly someone is going to be hired by Sony and this singer is going to start her career in the United States.
Céline took two sabbatical years on the first day of 2000.
We know that she focused on being with René, who had just recovered from cancer, and on trying to get pregnant and become a mother.
What happened during those two sabbatical years with many artists who debuted in the United States obviously has nothing to do with Céline and René.
Managers work to promote their artists, as do record labels, and the public decides.
And the public decided at the time. The rest is history.
All of this, if Vito Luprano supposedly says it in his book, has no credibility.
Tommy Mottola was still the president of Sony Music. If all this were true, I think it would have been known, and neither René nor Céline would have had the power to silence what is being said.
Many people in the industry have spoken about both Céline and René, but no one has spoken about them in those terms.
Did John Doelp say something at the time or now?
Best regards,
No one could believe this, and there are many producers who have worked with Céline. None of them have said anything negative about her, and they all agree on the same things: her talent, how generous she is, etc.
Obviously, Vito Luprano and John Doelp have been Céline's executive producers for most of her discography.
And you're right, now that René is gone, this book is coming out.
Céline is afraid because supposedly someone is going to be hired by Sony and this singer is going to start her career in the United States.
Céline took two sabbatical years on the first day of 2000.
We know that she focused on being with René, who had just recovered from cancer, and on trying to get pregnant and become a mother.
What happened during those two sabbatical years with many artists who debuted in the United States obviously has nothing to do with Céline and René.
Managers work to promote their artists, as do record labels, and the public decides.
And the public decided at the time. The rest is history.
All of this, if Vito Luprano supposedly says it in his book, has no credibility.
Tommy Mottola was still the president of Sony Music. If all this were true, I think it would have been known, and neither René nor Céline would have had the power to silence what is being said.
Many people in the industry have spoken about both Céline and René, but no one has spoken about them in those terms.
Did John Doelp say something at the time or now?
Best regards,
yes.... I agree...
in the early 2000s a lot of singers tried to be more famous in the U.S.A.
Lara Fabian and Laura Pausini are the two I can remember now...
the problem is that they were romantic singers of power ballads... and no one was interested in that kind of song in that time... and the Record companies were forcing the singers to sing dance and remixed songs... this happened to both Lara and Laura...
well, when Celine returned after 2002, even she was struggling to remain at the charts after a while...
this story is pure b*s*t
#16
Posted 08 January 2026 - 07:36 AM
Davey84
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As we would defend Céline, this guy, who worked with Lara for 20 years, defends Lara:
.
I wanted to catch his name, but as Facebook always annoyingly does, it refreshed without my chance of copying it.
For me it would feel very petty if Céline would deny Lara success in the USA because of a remark 10 years prior. I doubt that Lara would call herself a better singer than Céline, as she was a fan (or at least knew) of Céline at the time already. I call bullshit on this. Céline and René would be bigger than such a remark. It's a shame Vito is destroying his relationship with Céline and his legacy in her career by a book like this.
Quote
While it's clear this is a clever publicity stunt to promote a book release, I still want to emphasize that having been with Lara in countless situations and circumstances, and having shared her professional life for over 20 years on tour, in the studio, and while traveling, I've never heard her say a single bad word about an artist, musician, or technician, not even jokingly. It's simply not in her nature to be malicious; quite the opposite, she's one of the rare people who doesn't take offense at the talent of others. And every time she's spoken to me about Céline in particular, it's always been with great admiration and respect.
Quote
Même si il est évident qu'on a ici à faire à une bonne stratégie publicitaire pour promouvoir la sortie d'un livre, je tiens tout de même à préciser qu'ayant été auprès de Lara dans une multitude de contextes et de circonstances, et en ayant partagé depuis plus de 20 ans sa vie professionnelle en tournée, en studio, en voyages, je ne l'ai jamais entendu dire le moindre mal d'un artiste, d'un musicien ou d'un technicien, même pour plaisanter. Ce n'est tout simplement pas dans sa nature d'être médisante, bien au contraire, c'est une des rares personnes qui ne prend pas ombrage du talent des autres. et chaque fois où elle m'a parlé de Céline en particulier , c'était toujours avec beaucoup d'admiration et de respect.
I wanted to catch his name, but as Facebook always annoyingly does, it refreshed without my chance of copying it.
For me it would feel very petty if Céline would deny Lara success in the USA because of a remark 10 years prior. I doubt that Lara would call herself a better singer than Céline, as she was a fan (or at least knew) of Céline at the time already. I call bullshit on this. Céline and René would be bigger than such a remark. It's a shame Vito is destroying his relationship with Céline and his legacy in her career by a book like this.
Rick, ik hou van jou voor altijd!
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Antwerpen 13 et 14 mai,
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#17
Posted 08 January 2026 - 09:04 AM
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Lara was big in France and Quebec with her album Pure in 1997. We know that Celine wanted to take a break after the LTAL album, but then Titanic and MHWGO came. Her old contract from 1991 was $10 million for 5 albums in 10 years. Maybe Sony/Celine didn't like the competition then. But in 1999, Celine announced her break and the old contract ended, so Sony signed Lara...
But Lara didn't have a chance in the US anyway...
But Lara didn't have a chance in the US anyway...
Edited by comingback, 08 January 2026 - 09:14 AM.
#18
Posted 08 January 2026 - 09:49 AM
joaofilho
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I think these statements are nothing more than lies to raise money. Vito must be hurt by being fired, but understand that at that time music had changed and the decision for him to leave Sony was not René/Celine's but Sony's. I remember, if I'm not mistaken, that after his dismissal, he still worked as an advisor for René/Celine.
Regarding Lara, she signed a contract with Sony, she said that the label wanted her to record more upbeat, energetic songs, but she refused, she was betting on the song Adagio which didn't make much noise in America. She really didn't have a chance of succeeding in the United States.
Regarding Lara, she signed a contract with Sony, she said that the label wanted her to record more upbeat, energetic songs, but she refused, she was betting on the song Adagio which didn't make much noise in America. She really didn't have a chance of succeeding in the United States.
#19
Posted 08 January 2026 - 10:29 AM
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jpatdeleon09, on 08 January 2026 - 01:30 AM, said:
I don’t believe Celine would blocked Lara LOL And Sony is not just the recording label that exists. There are many. Lara is just not meant to be international artist. I remember her song “Broken Vow’, I think that’s the only thing that made international.
“I Will Love Again” is Lara’s biggest global hit. It peaked at 32 on the Hot 100, and was a number 1 dance hit here in the US.
Matthew Charles - "Fix You" - Live at The Stonewall Inn
Stonewall Sensation - Season 15
Originally written and performed by Coldplay
#20
Posted 08 January 2026 - 11:00 AM
tshlw
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Talking about how Lara's former manager has come out and said none of it is true and Celine and Rene did in no way block Lara signing with Sony and Vito arranged the meeting where he actually signed Lara to Sony.
Here is the Facebook video Lara's former manager Rick Allison posted
https://www.facebook...388560022752287
'I am, in life and death, the woman of only one man.'
Celine Dion My Story, My Dream
Celine Dion My Story, My Dream
#21
Posted 08 January 2026 - 11:37 AM
Your_Su_Phu
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Lara has consistently claimed that it was their teams that kept them divided
So the question is, is Lara a snake or did Celine's team lie in order to motivate Celine against her? Is there any proof that Lara shittalked celine in the press after Eurovision?
So the question is, is Lara a snake or did Celine's team lie in order to motivate Celine against her? Is there any proof that Lara shittalked celine in the press after Eurovision?
#22
Posted 08 January 2026 - 07:44 PM
mebe
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Rick Allison who was Lara's producer and manager for 15 years just released a video where he says there is nothing true in Vito's declarations. Celine never asked Sony not to sign Lara and Lara never spoke against Celine...He said Vito was a fabulous artistic director but shouldn't write books...
https://www.facebook...e/v/18C76HexTc/
Envoyé de mon SM-S931W en utilisant Tapatalk
https://www.facebook...e/v/18C76HexTc/
Envoyé de mon SM-S931W en utilisant Tapatalk
#23
Posted 08 January 2026 - 08:41 PM
Your_Su_Phu
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lmaooooo
I think some other article claimed Celine's lawyers already vetted everything Vito said but who knows if that's BS
also I remember Walter afanasieff calling celine/Mariah/barbra "jealous creatures" who demanded exclusivity (he also worked with Lara's English debut project)
I think some other article claimed Celine's lawyers already vetted everything Vito said but who knows if that's BS
also I remember Walter afanasieff calling celine/Mariah/barbra "jealous creatures" who demanded exclusivity (he also worked with Lara's English debut project)
Edited by Your_Su_Phu, 08 January 2026 - 08:41 PM.
#24
Posted 08 January 2026 - 09:56 PM
MaiconSC
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Your_Su_Phu, on 08 January 2026 - 08:41 PM, said:
lmaooooo
I think some other article claimed Celine's lawyers already vetted everything Vito said but who knows if that's BS
also I remember Walter afanasieff calling celine/Mariah/barbra "jealous creatures" who demanded exclusivity (he also worked with Lara's English debut project)
I think some other article claimed Celine's lawyers already vetted everything Vito said but who knows if that's BS
also I remember Walter afanasieff calling celine/Mariah/barbra "jealous creatures" who demanded exclusivity (he also worked with Lara's English debut project)
Walter was Lara's boyfriend... and he's a complete lunatic... I never liked him, he told many lies about Celine, and Lara also...
#25
Posted 08 January 2026 - 10:02 PM
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mebe, on 08 January 2026 - 07:44 PM, said:
Rick Allison who was Lara's producer and manager for 15 years just released a video where he says there is nothing true in Vito's declarations. Celine never asked Sony not to sign Lara and Lara never spoke against Celine...He said Vito was a fabulous artistic director but shouldn't write books...
https://www.facebook...e/v/18C76HexTc/
Envoyé de mon SM-S931W en utilisant Tapatalk
https://www.facebook...e/v/18C76HexTc/
Envoyé de mon SM-S931W en utilisant Tapatalk
this needs to go viral!
#26
Posted 09 January 2026 - 02:32 AM
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tshlw, on 08 January 2026 - 11:00 AM, said:
Talking about how Lara's former manager has come out and said none of it is true and Celine and Rene did in no way block Lara signing with Sony and Vito arranged the meeting where he actually signed Lara to Sony.
Here is the Facebook video Lara's former manager Rick Allison posted
https://www.facebook...388560022752287
Would love to have more insights of her career.
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#27
Posted 09 January 2026 - 04:38 AM
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1) I've always been eager to get real behind-the-scenes details that we never knew before. A peak behind the curtain from someone whose name is not Celine nor related to her. Unfortunately, I'm not sure if this is exactly that...or at least, there may be some embellishments or mistruths among anything new?
2) I can't picture Celine being unkind to someone without reason. She's always been kind, supportive, and un-threatened by other female singers... and even though Lara seems nice too, I'd be more inclined to believe Celine's version of events over Lara's.
2) I can't picture Celine being unkind to someone without reason. She's always been kind, supportive, and un-threatened by other female singers... and even though Lara seems nice too, I'd be more inclined to believe Celine's version of events over Lara's.
#28
Posted 09 January 2026 - 04:46 AM
PuraVida
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Idk if his account is true, but anyway it's worth nothing that things aren't always as they seem --
I remember seeing videos talking about the first time Mariah and Whitney met (from a very reliable source), and how it was very shady/tense from both sides--initially from Mariah. And I think there was some real frost there until later on when they eventually recorded together.
Naturally, those stories never came out until after Whitney's death.
I remember seeing videos talking about the first time Mariah and Whitney met (from a very reliable source), and how it was very shady/tense from both sides--initially from Mariah. And I think there was some real frost there until later on when they eventually recorded together.
Naturally, those stories never came out until after Whitney's death.
#29
Posted 09 January 2026 - 03:05 PM
tshlw
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Interview with Aldo Nova he talks a little of Celine and Rene and the new book.
«Je parle encore avec Céline», affirme Aldo Nova
«Je parle encore avec Céline», affirme Aldo Nova
'I am, in life and death, the woman of only one man.'
Celine Dion My Story, My Dream
Celine Dion My Story, My Dream
#30
Posted 11 January 2026 - 11:18 PM
PuraVida
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Celine is an industry unto herself. I've always been impressed by that, something few have achieved. And all these years into her career.
All the people she is able to give income to and careers to by association--the entire Titanique show, the people (including her entourage) her write books about her, all the impersonators including drag queens who become Celine on the stage and travel, etc.
All the people she is able to give income to and careers to by association--the entire Titanique show, the people (including her entourage) her write books about her, all the impersonators including drag queens who become Celine on the stage and travel, etc.
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