Why opt for style over substance in classical music?

xcept

Why opt for style over substance in classical music? - (Herald article)

For all I know, Welsh soprano Katherine Jenkins has not appeared stark naked in a lads' magazine, but it is likely that she has been approached to do so. Ms Jenkins, I am sure, wishes to appeal to the great British public for her vocal talent rather than her physique, but you would have to be partially sighted to have missed her readiness to appeal visually as well as aurally in the marketplace. Italian tenor Andrea Bocelli is, of course, thus impaired and it is not the act of a cynical curmudgeon to point out that his triumph in the face of his disability is undoubtedly a significant factor in his commercial success. When he appeared at the Scottish Exhibition and Conference Centre a few years ago it was hard not to smile when one observer commented that the event was indeed a phenomenon: a gathering of one blind bloke and 7000 deaf people. The truth is that neither singer is at the pinnacle of their profession.

Such observations will mark me down as a snob in the minds of some. It is impossible to object to the "crossover" success of these pseudo-classical singers without being condemned as elitist. Why that should be a fault is unclear. It is the job of a critic, surely, to assess and identify excellence. This newspaper makes awards at the Edinburgh International Festival, Fringe, book and film festivals on exactly that basis and daily publishes reviews of shows and concerts passing judgment in that way. Classical crossover seems to present particular problems, however. Here presentation is all and a winning smile and an easy manner is seen as excusing any deficiencies. Thus former TV talent show pop singer Mylene Klass is signed for a six-figure sum to a classical music label while an established composer has to rescue crucial recordings from defunct record label limbo. Conversely, talented and attractive violinist Nicola Benedetti has to fight for serious critical attention.

The classical music charts are often dominated by glossily-packaged pretty sopranos and tenors performing much the same repertoire. Girl groups such as All Angels and Opera Babes and tenors Russell Watson and Scotland's Nicky Spence supply versions of the same small number of familiar arias and liturgical pieces and music that has become familiar from use in films or on TV.

Not only is it lazy thinking on the part of the performers and their agents, it is lazy listening on the part of the public. This market is a relatively-recent post-Three Tenors phenomenon and there are signs that it has reached saturation point and is running out of steam.

Later this month another young Welsh soprano, Elin Manahan Thomas, releases a superb recital of baroque music with the Orchestra of the Age of Enlightenment under Harry Christophers. It has all the benefits of seductive packaging, with lots of lovely pictures of Ms Thomas, but the music is first class and a mix of the familiar and the less well-known. Christophers and his choir the Sixteen, which has included the soprano, have already brought quality to the crossover market with their own repackaging. The current hit album of opera duets by Anna Netrebko and Rolando Villazon may make much sickly photographic mileage of their real-life partnership, but the disc itself is much more than the candyfloss that suggests. Is the disc-buyer moving on from vacuous crossover and cleavages to taste, tone and technique? Let's hope so.

Source: The Herald

xcept · Posted: Sun Jun 03, 2007 11:15 pm Post subject:

This article is clearly set to prompt a debate about the Classical crossover genre and drawing out the strong opinions of those who love/hate it.
So I thought it might be a good place to start, obviously the fans of the artists here have an opinion, it would be great to hear it...........

Margaret. · Joined: Jan 05, 2006 Posts: 602

I personally like the crossover genre. Iam not a fan of All Angles, Opera Babes or Nicky Spence, but I am a Russell Watson fan.
In this case i don't mind being called lazy as this person suggests. And i dont take to kindly to being told that i am wrong in the type of music i like listening to. If the performers didnt have tone and technque, they wouldnt be were they are. I personally am a fan of Alfie Boe and Lesley Garrett, Thats my taste. And may i say you seem to have a problem with good photography and cleavages.

arsenal1 · Joined: Mar 28, 2007 Posts: 31 Location: tring

I personally like the cross over music that is being performed at the moment, if singers want to experiment with it, then let them.

JohnnyMac · Joined: Jul 25, 2007 Posts: 1

I think all forms have their place: The cross-over as a means of introducing a broader audience to classical rep. One hopes that folks eventually dig deeper, learn more, and can eventually distinguish between the manufactured acts and the truly talented, classically trained, singers. I think the cross-over genre coupled with the new and robust efforts of the Met, SF Opera etc. in pushing real opera to the masses will eventually help expand the awareness of this amazing music by these amazing composers.

I would agree with one of the key points of the original post - that we not automatically assume that because the book's cover is beautiful that there is no substance within.

Quawkers · Joined: Jan 05, 2006 Posts: 264 Location: Duckland - Bucks

Classical crossover has brought opera and all classical music to the eye and ear of the general public. I for one seldom used to listen to classical music until this genre 'took off'. Also in the days before classical crossover in my minds eye all classical performers were the size of biscuit barrels and had no necks. If crossover brings classical to the people 'bring it on'!!!! Smile

Nicola · Posted: Tue Jul 31, 2007 1:39 pm Post subject:

I agree with the article to an extent. I got into Classical Crossover about 5 years ago with Sarah Brightman, and slowly my collection started to include Aled Jones, Josh Groban, Vanessa-Mae, Charlotte Church and Hayley Westenra. I used to know who's who in the whole genre, it was so small. But now companies are spewing out pretty boys and girls with a pretty voice mega fast, and I can no longer keep up. What's with Katherine Jenkins releasing two albums a year? There's no creativity involved, and her voice leaves so much to be desired. I have seen Katherine live twice, and both times she proved to be mediocre. I remember coming out of the concert and everyone was saying how astounding she was. My father and I looked at other and both asked 'Are they deaf?' at the same time.

So many new, yet uncreative acts are being spewed out. The ChoirBoys, Katherine Jenkins, Jon Christos, Cortes, Mario Frangoulis, G4, Il Divo, Angelis, All Angels... pretty much nearly all artists listed on this site! Whilst many I listed are quite talented (All Angels in particular) there is little substance behind them, creativity wise. I used to be a huge fan of Hayley Westenra, but five albums in, she is still exactly the same! I'm bored! I doubt I will be buying another one of her albums.

Sarah Brightman and Vanessa-Mae basically pioneered the new 'crossover' that we hear today, and everytime I pick a new CD up by a new artist I see songs that I have heard before. I think I picked up a Paul Potts CD the other day where three songs on that album alone was originated by Sarah Brightman. I mean, I've picked up so many albums in store with these new people on it them, looked at the back and considered buying it but checked myself when I saw the track listing. The last time I bought a crossover album on the power that it was crossover was Cortes, and it was the most unoriginal disc I have heard. I haven't picked up any new crossover discs since.

Unless some of these artists start doing something different, or writing some original material, the columnist is correct. The whole thing will lose steam, and be forgotten, with only the most distinct of the bunch (Emma Shapplin, Vanessa-Mae, Emilie Autumn, Sarah Brightman - artists that do not follow a mould but follow their creative hearts) surviving the dark days of doom looming over Classical Crossover.

I know my opinion will be unpopular, especially when I mention Russell Watson - but apart from his album 'Amore Musica' what is so special about his albums? 'The Voice' was somewhat pioneering and I like that one, but the others were exactly the same. I was so disgusted with his last album ('That's Life?') I gave it away. I gave it away. I had to talk the person into taking it off me I so badly didn't want it in my CD collection.

Song covers, after song covers, after song covers. I've moved on to be honest. There is only so long that one can listen to this genre before it becomes repetitive.

Having said all that, there is no problem with crossover for as long as people like it and want to hear it. If that's what people enjoy, why try and tear it down? I also think it has done more good than harm to the classical market. I would never and ventured into operas or classical discs if I never came across Sarah Brightman.