Last night I attended my third-ever Celtic Woman show, and the first in a venue other than the Fox Theatre in Detroit. Although the Fox is larger and just a tad grander, Shea's Theatre is scarcely less magnificent as a backdrop for Celtic Woman. It is similarly soaked in turn-of-the-century opulence, with luxurious decorations and ornate fittings nearly equal to the Garnier Opera House in Paris.

Such a lavish setting is a perfect setting for Chloe Agnew, because the decor matches her luscious beauty. Indeed, if, like me, you only attend one or two shows every year, you forget just how breathtakingly gorgeous she really is. Words can hardly describe her, and no pictures can do her justice. The moment that she appears on stage, her beauty impresses itself upon you like a palpable force. It's like something from out of a dream, or from the subconscious: the flowing blonde tresses, the Classically proportioned figure, the round limbs, the soft eyes, the angelic face.

It's one thing to view pictures of Chloe, but quite another to see such beauty in real life, in the flesh, just a few metres in front of you.

Chloe has definitely become even more attractive since the last time I saw her, back in February. (It's hard to believe that it has already been over eight months.) She is considerably fairer now, and the fairer her complexion becomes, the more angelic and princess-like she appears. Most notably, her hair is even longer than it was before, the longest that it has been since the Slane Castle concert. Not only are her luxuriant tresses a dazzling feature in and of themselves -- arranged as they are in an enchanting fashion, in thick romantic waves -- but Chloe has developed a bewitching habit of playing with them during the concert. Usually she does this in moments when the spotlight is off her, but you can still see these movements under the general stage lighting. When she arranges her hair, she looks for all the world like a mermaid combing her tresses to lure sailors to their peril. She brushes her locks to one side, or the other, or drapes them forward -- the effect is hypnotic.

Partly, she does this because she is so animated on stage -- for as she tosses her heard while dancing, or while glancing every which way around her, those magical tresses of hers form themselves into slightly different arrangements. The hairstyle is generally the same, but sometimes it has more volume on top, sometimes it's thicker to one side. As a result, she is compelled to tame her locks from time to time. The result is that Chloe fans are treated to a dozen different looks throughout the show, each lovelier than the next.

Did I mention how animated she is on stage? Because she really is. Even for Chloe, last night was a particularly spirited performance. She absolutely comes alive on stage. It's where she is in her element. She is far more animated than any of the other singers -- and that's not a knock on them. The simple fact is that Chloe, whether because of her irrepressible youth, or her wild spirit, is more energetic than the rest. She seems to feed off the adoration of the crowd (and last night, that adoration was considerable). She became even more playful as the evening went on. There was less adorable "bumping" in this show than in Detroit, but more examples of her sidling up to the other girls, dancing with them -- and dancing on her own. By the end of the show, she was frolicking in glorious abandon. No wonder she got the loudest ovation.

Chloe is, above all, an intensely physical being. Even during the slower numbers, she makes broader hand-and-arm gestures than the other singers. These are captivating -- they help to lead listeners into the narrative of the songs, and to convey the singer's emotions. It's as if, like a great conductor, she shapes the music with her hands while she performs.

But oh, the dancing! There is now just as much reason to go to a show to watch Chloe dance as there is to hear her sing. Her dancing is even more unbridled than before. I wish someone could have recorded every movement. At one point near the end of the show she picked up the hem of her skirt in one hand and twirled like a dervish; at another point she moved so quickly (this was in her silver-blue down) that her skirt flew up, in a Mairead-like effect, and displayed a glimpse of her legs.

Her singing, likewise, is even more impassioned than it was in the last show that I attended. The beauty of her voice, like the beauty of her person, just pours out of her as she sings. She delivered "When You Believe" in a remarkably dramatic manner, squeezing more emotion out of the lyrics than I ever considered possible. Although "When You Believe" is performed very early in the show, it was the first number for which I saw audience members rising to their feet to applaud afterward.

And later, her "Nella Fantasia" performance filled the house with pure, glorious sound, pressing every listener into their seat. Her soaring high notes were more powerful than ever before, yet just as lyrical, just as beautiful, as in her first recordings. Her top register is the glory of Chloe's voice, and in this performance, it was vividly on display.

Also, last night, more than in any previous show, I remarked upon just how good an actress Chloe is. Her facial expressions during "Spanish Lady" were particularly vivid, and effectively dramatized the narrative. Her overall demeanour was livelier than ever.

Even during group numbers, she managed to make herself irresistible, with countless coy glances, flirtatious expressions, adorable eye-rolls. Any moment she's on stage, you can't take your eyes off of her. This is what even the best still photos cannot capture -- Chloe's captivating awareness of her own beauty, and her ability to present herself in a manner that heightens her appeal even further.

It's hard for me to decide which gown I prefer. I still think the silver-blue dress is more opulent, more embellished, more beautiful, but the green dress has grown on me. It fits her figure so perfectly, defining her every curve. I'm torn.

Even her makeup is a part of what makes Chloe unique. Last night, she wore a glittering eyeshadow that caught the light in several moments, contributing to the sense of magic about her.

Chloe's extended narration at the end of the evening was a definite high point. She is uniquely gifted at extemporaneous speaking, and her short chats are just as enjoyable as her songs. She reminisced about how long it had been since CW had visited in Buffalo, even though it was one of the first venues where they ever performed, all the way back in 2005. She joked that for Hallowe'en, the girls had planned their costumes for months, for they decided to come dressed as...Celtic Woman! (Roll on snare drum.) It was a cute joke, particularly because of the self-deprecating manner in which Chloe told it.

Oh, and as an experiment, I brought a small, 8.5x11 sign with Chloe's name on it, and flashed it during the applause near the end of the show. I felt a little odd doing so, as I didn't see anyone else with any placards, but I think Chloe noticed it, as she looked straight in my direction, and appeared to remark on it.

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Even someone who goes into a Celtic Woman show not as a Chloe admirer in particular, just as a casual music buff looking for an evening's entertainment, would have to admit that she really gives them their money's worth, with her endlessly fascinating, and moving, and charming performance.

But for the true Chloe fan, to watch her in concert is to spend two hours in heaven -- or the nearest mortal equivalent. She is the most beautiful singer in the world today (most beautiful of voice, and most beautiful of person), and by far the most captivating as a performer.

I wish the concert could have gone on and on.