Before I answer the actual question, I used to hate country music...now, I can't get enough of it! That is, REAL country music!
Nowadays, my favorite genre is country. Next to that, my favorite genre is definitely rock. Some of my favorite rock artists are Badfinger, Tesla, Scorpions, Iron Maiden, Cinderella, Jackyl, Chuck Berry, Jerry Lee Lewis, Eric Johnson, Led Zeppelin, Lynyrd Skynyrd and many more!
Don't get me wrong though, I also love blues and jazz as well other genres such as Celtic music and classical. Overall though, I listen mainly to country, rock, blues and jazz.
Wow, that's an odd/random mix you choose to quote! Paul Potts?? Whiney Housten haha, susan boyle!?
I'd say that possibly the one area Britain still holds some kind of international sway is in performing arts. While everything else comes down around our ears, British musicians and film makers continue to innovate and push boundaries. Not karaoke BGT/Xfactor talent show singers or vast budget crowd pleasers, but actual home grown bands and film makers willing to be individual.
It's a part of growth. As we grow older we learn that many of the people we admire may not actually fit the fantasy we might have formed about them when we're younger. We tend to idolize people we admire, and we only "see" what their public relations people want us to see. Katherine Jenkins has always been a very technically bad singer--especially when it comes to the classics. She does have a rather pretty sounding voice--but despite actually going through some sort of training when she was younger--she seems to have relied more on her looks than her talent. She's just THAT bad. Really. Joyce DiDonato, on the other hand, is one of the top mezzo-sopranos in opera, and one of the most admired and respected not only by hardcore classical musical fans, but by other singers as well--and certainly by THIS singer (me).
Jenkins could do well in lighter, more pop genres of music, but occasionally all the praise by the uninformed and by her own publicity machine, might have gone to her head and she actually believes she is a real opera singer on par with those who perform on legitimate opera stages all over the world.
Other than perhaps during her school years, I don't believe she's ever performed in a full-scale opera production at all. Not everyone can sing opera. You really have to have the sheer volume for it, and even with a microphone (which opera singers don't use), she really must push like crazy to get the sound out.
Soprano Sarah Brightman was another casualty of too much pushing, in my opinion. Her light, clear soprano was perfect for Broadway and it was suited for the "New Age" type songs she also was famous for. But Brightman herself apparently knew--even if her fans did not--what those operatic arias were supposed to sound like. Why else would she work so hard to create a much bigger, heavier sound? I heard her on a television show and was simply shocked at what happened to that lovely voice! Age alone does not explain away the drastic change, even though you might expect a few very high top notes to disappear.
If it makes it easier on you, just listen to Jenkins' better recordings and leave it at that. I don't listen to Maria Callas recording made after a certain date either (after she really developed that wobble). I prefer Ella Fitzgerald's recordings she made in the 1950's at the peak of her artistic and vocal strength (her voice was pheonomenal then). Pick and choose. I've learned to appreciate Wagner's music recently when I avoided it because he was a horrible human being.
No one really "lied" to you. You just figured out the truth, that's all. And sometimes the truth isn't pretty.
By the way, her boobs are real either.
While Cecilia Bartoli has never been one of my favorite singers, I would certainly NOT label her as talentless, nor would I put her anywhere near the same category as the overinflated, overrated Katherine Jenkins. She is a legitmate opera singer for one--having performed many mezzosoprano roles in major opera houses all over the world. The day that Miss Jenkins appears in a Rossini production at the Metropolitan Opera (as Ms. Bartoli has done) would be the day I expect to see the Devil buying ice skates at the local mall-because Hell just froze over!
As for Bartoli's annoying "trills" and "R's--those trills are appropriate for the type of coloratura roles she is especially esteemed for. As for the R's--well, she IS Italian, so give her some slack for pronouncing Italian like an Italian. French singers roll their R's more than non-native singers of French songs too. I don't like the way she sings runs--I find there's a bit of a "gug-gug-gug" sound that seems to be hard and jarring. But that's just my preference--some others would say that she is extremely precise in hitting the individual notes in a highly ornamental passage.
Don't hate her because she's beautiful. That's what Jenkins fans are always using as an excuse! That opera singers and fans hate Jenkins because of jealously. That all the other opera divas are fat and ugly! Having physical beauty doesn't make you an opera singer, any more than a lack of ugliness excludes you from being an opera singer. Bartoli is (to me), a beautiful woman graced with a beautiful, warm voice and deserves her accolades.
And remember...I also said she isn't even one of my favorite singers! Still credit for her artistry is due! I wish I had only a fraction of her talent--gug, gug,gugs and all.
Anyone think it worthwhile to compile a list of trigger words which make off-topic Q's end up in Classical?
I think the entertainment value is very significant, but you're right: it is severely irritating. I have seen people swear blind on YouTube videos of classical crossover singers "WHAT SHE DOES IS CALLED OPERA!". They will never learn on their own, so some action is needed. I think this is a great idea.
What do people from the classical music/opera world think of classical crossover & pop-opera singers...?
I am a "purist" of sorts whenever it comes to things like musical theater/opera. But It's not like I don't love the commercial stuff either. The fact of the matter is, there is room for both. It's when the commercial stuff starts to thwart and overtake the quality of the classics that you have a problem.
Like, Britney Spears playing Mimi in "La Bie Boheme" would piss me off. Kind of the same way when Ashlee Simpson played "Roxie Hart" in Chicago. I don't feel she was qualified at all to play the role and in my mind... was a cheap trick to drum up publicity. This ain't the Pussycat Dolls. You don't just get up there and shake your butt while singing mediocre music. You work and sweat... and hopefully graduate from the chorus, hah.
Well, yes it's ok. However, if Jenkins looked like te back of a bus she wouldn't be half as successful.
What is amazing about Sarah is that she has two voices, really. She can produce a pop, contemporary sound, but she can also blossom out into a light soprano. The soprano part of her voice can go up to an E natural above high C. She doesn’t sing it full out, but it is there. Of course, she has to dance while she is singing some of the time, so it’s all the more extraordinary.
She sometimes deploys both her pop and classical voices in the same song. One example is "Anytime, Anywhere" from Eden, a song based on Tomaso Albinoni's Adagio in G minor. In the song, she starts out in classical voice, switches to pop voice temporarily, and finishes with her classical voice.
Brightman's music is generally classified as classical crossover.
Katherine Jenkins wants to responding to people's increasing boredom with pop music and I'm sure you'll agree that she does. But Katherine Jenkins says she also wants to be respected by people who are already lovers of classical music and I feel that this is something she doesn't do. while Katherine Jenkins' voice is gentle and wholesome, it's also heavily produced and we don't hear any variety in tone. So, she's great for getting people into classical music because of her warming voice - maybe this is why you prefer her?
You say you have no idea about vocal training, which is fair enough. So, from this perspective, I can tell you that Jenkins would not be considered a virtuoso whereas Brightman would.
I chose Pocahontas as a story of an Indian woman who saved John Alden from certain death by a hostile Indian tribe. I think that her story is interesting because after that incident, she went to England and contributed to the Europeans understanding about the colonies, the native tribes, and America. Also, there are many web pages about Pocahontas on the Internet.
these ladies do not sing opera, they sing either musicals or "poperas". If you want a real opera singer with a light high voice, look for recordings by Kathleen Battle, Barbara Daniels, Natalie Dessay, the late Beverly Sills, Dame Joan Sutherland. These ladies all sing "coloratura" soprano, they hit the highest notes.
If you want sopranos who are lightweight in sound, but less high in range, look for Renee Fleming, Kiri te Kanawa, Mirella Freni, Helen Donath.
Oh God, eargasm! That's an insanely beautiful list! Haha (and I'm thrilled to see Tarja on there, she's my favorite vocalist!). I can't pick my favorites so here's just a list of the first song to pop into my head:
Tarja Turunen - I really couldn't pick just one song ... she's done a Christmas classical album, her own rock album, plenty of classical performances, and even sang in a metal band (Nightwish). But she tops my list anyway!
Sarah Brightman - "Anytime, Anywhere"
Sissel - "Summer Snow"
- from Summer Snow soundtrack
Charlotte Church - "Creating 'Governing Dynamics'"
- from the movie A Beautiful Mind
Hayley Westenra - "Prayer"
Also you might want to check Operatica out. They mix classically-inspired electronic music with operatic female vocals.
Delerium does too, they're amazing!
"Aria (ft. Mediæval Bæbes)"
Does anyone else in their teens/20s like popular opera?
I'd have to listen to it more. It is beautiful. I do like stuff like it. Actually listening to it more, it's pretty awesome.
Pretty much anything we play in Marching band or the Orchestra plays, I listen to for fun now. Like Phantom of the opera, Sweeney todd, etc. Like this http://www.youtube.com/watch?v=TWPHgcM0-AE "come un lampo de vida" which is in my name a lot has to do with it, and I love listening to my part :D
I've never been too mainstream anyways.
Help me plz!! Do anynone have backing track of Angel song?
It's possible that you may have the title incorrect. Here is a site where you can download the instrumental of the song "In The Arms of an Angle" by Katherine Jenkins:
Here's a site where you can download the karaoke version of this song:
Who is Katherine Jenkins
Is it this one?
Pocahontas probably fairly easy to do.
Bill (William Shakespeare), probably a plethora of information plus the many arguments about who he really was.
I like the second one - Pocahontas
They're all big brother 9 contestants which probablyy means it was a big night out with all of them =]
Steph & Sara probably got to know each other via the other contestants in BB9.
Other pics in that gallery look as if they;re from photo shoots so it could be that =]
I do think they look like each other
Hope I Helped =]
When plucking eyebrows you want to make sure the length of the eyebrow is the same length as your eye. Never pluck from the top. If you want you can first draw them out on your eyebrows with a brow pencil and use that as a guide line. The good thing about tweezing is that it is one hair at a time, kind of hard to mess that up!
What are the vocal ranges of these classical singers?
Er... The premise of the essay is rather iffy. One can hardly compare the vocal ranges of classical/opera singers with those of pop/cross-over singers since the latter sing with the aid of artificial amplification (microphone).
It makes a big difference! With amplification and without the expectation of having to have complete control of the notes one sings it is a lot easier for pop/cross-over singers to claim to have extraordinarily high notes. In classical/opera singing, you can only count the notes you can sing in complete control loud enough to be heard without amplification from any seat in an (opera or concert) auditorium.
Classical/opera singers also don't list their exact vocal range (at least the smart ones don't)... Unless you get to be a fly on the wall listening to them vocalize before a performance (they generally vocalize up or down to 1/2 or a full note above and below what their working range is), you can really only guess at the range based on what sort of roles they sing.
You'd expect a lyric soprano like Kiri Te Kanawa to have an easy C6 and can get down to B3. Anna Netrebko is something of a lirico-spinto soprano who sang some really high roles before, but has dropped those since she started having kids. I'd guess she has B3-C6 (and might be able to still interpolate a D6 every now and then). Diana Damrau used to have secure B3-F6, but considering that she had dropped the Queen of the Night from her repertoire because the F's are no longer comfortable for her, I'd guess she has B3-E6.
I've never heard any of the others on your list without amplification, so no comment on them.
If Katherine Jenkins was really that bad, then how did she manage to win so many awards & talent competitions?
The reasons for her success?
1 Media hype: a gullible public will believe what they're told they should
2 Good marketing: See someone's face (and chest!) everywhere and people think they're good
3 A pretty face
4 A large bust
They are the reasons. Not a lot to do with her talent, of which she has only a mediocre amount. Notice that she can only since everything as loudly as possible? No nuances, no shaping, no real phrasing, very little real musicality. Some people seem to think if you can sing loudly and hold notes a long time you're a great singer.
I don't think 'choirgirl of the year' awards amount to very much, do you? There's a huge amount of difference from being a good choirgirl and a decent adult solo performer.
Do you know any classical/operatic pop singers, like Sarah Brightman, Hayley Westenra, or Katherine Jenkins?
Anna Netrebko may appeal to you. She is quite modern in that she has made video clips of opera songs but at least she can sing better than those you have listed:
And of course, there is Sumi Jo...a "real" opera singer :
In case you think Katherine Jenkins has one shred of decency left...?
Katherine Jenkins? Teaching opera? Oh. my. word.
I'm hoping that I've misunderstood this.
I guess this is a bit relevant, but has anyone seen this site about Katherine Jenkins?
I've already ordered my Katherine Jenkins toilet scrubber! (haha! Her face is on a toilet scrubber, seems rather fitting!)
Is true that Katherine Jenkins' acceptance to the Royal Academy of Music, London, was due to a mistake?
Rumours such as this abound about all sorts of people. I don't know the answer but I would surmise that, a few years ago, when a young woman of 18 years of age, she would have had a voice good enough to get through an entrance exam to the Academy. It's a shame that other more musical, sensitive and talented singers are still struggling to get their careers on track while Jenkins, aided by her large breasts and media and marketing hype, makes a lot of money belting out anything that's put in front of her as loudly as possible without any apparent understanding of the words she is singing.
Edit to questioner:
Glad you found my answer amusing ;-) No, I don't hate Katherine Jenkins. I don't even know her. She might be very nice. However, I abhore what she stands for: third-rate wannabe people who make a lot of money - not because they are particularly talented (and most are not) but because cynical record company marketers see they can make money out of them. These 'artists' are best represented by the genre that has now become known as 'popera'. YUCK! Rant over!
Are there any Katherine Jenkins fans/haters here? Howcome so many people seem to hate her?
Like most of the so-called 'crossover' artists, Katherine Jenkins is decidedly second (or maybe third) rate. She has a mediocre voice, an uncontrollable over-large vibrato and can only sing in one way - loud.
Her record deal acknowledges more the huge sums of money the record company will make out of her than anything to do with her 'talent'.
Her popularity lies in the general public's bad taste and willingness to be duped my marketing and media hype, a pretty face and a very fullsome figure with two very notable attributes.
I don't know where you get the idea from that 'proper' opera singers are big-framed. Yes, there are 'big' singers (as there are big people in all walks of life) but I know plenty of small singers.
She could not cut it in the real opera world as she is not nearly good enough. People's objections largely come from the fact that she is a product of cynical marketing to a gullible public while many good singers strugggle to make ends meet in the 'real' world of opera and elsewhere in classical music (which, unless you're a mega-star, is NOT at all well paid).
she has a lovely trained instrument but you are missing content .... meaning she sings all the words but none of the meaning to theses words ... the easiest way to explain this is just listen to her version of Dolly Parton's (she wrote the song) I Will Always Love You and Dolly's version each note of Katherine's version is beautifully placed and produced but there is no meaning to the words, Dolly's version you feel the sadness she feels in saying goodbye
note to Greenandpink have you seen any of those sopranos/mezzos actually perform live Bartoli is a very entertaining and engaging on stage but vocally a bit sloppy, Gheorghiu is not and vocally she has pitch problems in the upper and lower range the middle range is uncertain at best (her studio recordings some of them are excellent), Renee on the other hand is given reserved characters for the most part (Strauss and Mozart) but when she is allowed to let loose like in Carlyle Floyd's Susannah she can break your heart and pull your emotions like the best of them, Callas never saw her (I am not a fan) but take any live recording between 1950 and 1953 and you can hear how opera should be sung, Sutherland is a goddess in her own way, Kathleen Battle is nothing special there are dozens of light sopranos that can eclipse her technique and actually can sing on the big stages without being miked, Sarah Brightman is a pop singer with annoying glassy voice ,,, please don't send a newbie that way
1) She has never written a song.
2) She is not a classical singer.
3) I will bother telling you to be in the "pop" section.
4) I will also suggest the "other-music" category.
5) I will say that my take on her is not a good one.
Yes, I've seen hatred expressed toward her... at fora like Youtube... And even here (even if it is done subconsciously... like characterizing her as a "classical cross-over sell out"). I think it is a mixture of...
1) She dares to enjoy singing opera and classical numbers as well as pop music. Some people can't stand the idea that others can enjoy cross-over music without lessening their enjoyment of pure pop or pure classical/opera music, and they tend to also be unable to resist this strange urge to try to dictate what others can or can't like.
2) Many of her (and other classical-pop crossover stars like Brightman or Church or Bocelli or Potts) fans insist on mislabeling their favorite crossover singers as 'opera stars'. Not only that, some of them even insist that these crossover singers are much better at singing opera and classical stuff than bona fide opera/classical stars like Callas or Pavarotti were - never mind that they (the fans) know next to nothing about opera or classical singing/music in the first place.
Of course, the ire should be directed at these subset of misguided fans rather than the singers themselves (as far as I know, they themselves don't go about trying to pass as opera stars. And most have a healthy respect for the actual opera singers who can sing stuff that they can't), but being a lover of classical music/opera doesn't automatically make a person logical or sensible or even nice.
3) Some opera/classical singing fans are just jealous of the lavish popular attention bestowed onto the crossover stars in comparison to the scant one paid to at least equally deserving real opera/classical singers... And the crossover stars are the natural scapegoats for their resentment.
Does the truth hurt? :-P
What do people think of opera singers like Russell Watson and Katherine Jenkins?
I don't know who Russell Watson is and I could have easily looked him up, but I think I know a lot of singers like him considering the other responses. I do know who Katherine Jenkins is. I don't even think that she is a particularly good pop singer. In fact I can't fathom why, since she did apparently have some formal training, and a rather pretty sounding voice, that she isn't a better singer technically than she actually is!
For example: http://www.youtube.com/watch?v=SzKdRf4bS1Y
(I love how she manages to "sing' on her video without even opening her mouth. Compare her singing live)
The original Evanescence version, plus a live acoustic version with Amy Lee (lead singer)
I delibertately pick a non-classical song here to make a point. Jenkins, for all her pretty face and voice, is an insipid singer. Her voice is weak as her ability to perform anything with any real feeling or emotion.
And this? Why? Why? For GAWD'S SAKE, WHYYYYYY!!!!!!!
Does she even understand what this song is even ABOUT?
This the kind of thing that gives opera a bad name.
I think people admire mediocrity because it's easy to achieve it. Anyone with a relatively pleasant voice can "aspire" to sing like Katherine Jenkins (but they better have the names of her plastic surgeons as well if they hope for a career). Not very many people can dare hope to sing as well as true operatic mezzo-sopranos like Teresa Stradas, Tatiana Troyanos, Frederica von Stade, Marilyn Horne, Christa Ludwig, Joyce diDinato, Christine Rice, Cecilia Bartoli, Denyce Graves, Elina Garanca, etc. etc.
Here's comparing Jenkins to another "crossover" singer. Notice how many extra breaths Jenkins takes compared to the other singer.
And in opera? Jenkins is completely out of her league. This famous aria from "Carmen"
A real opera singer--Elina Garanca. Her "heavier" timbre is typical of a true operatic mezzpo-soprano. I even picked a thin singer for those who harp about THAT too. You can be slim and still have a big, rich voice.
What are the lyrics to "Song to the Moon" by Katherine Jenkins?
Beautiful song! I just discovered it and I think I want to learn it, too. I love Renee Fleming's rendition but I can't sing in Czech!
Silvery moon in the velvet sky
Your light shines far in the heavens
Over the world, wandering
Gazing in human dwellings
Over the world, wandering
Gazing in human dwellings
Oh, once in awhile, stay with me
Tell me where is my love?
Oh, once in awhile, stay with me
Tell me where is my love...where?
Tell him, oh, tell him, silver moon
That in my arms, I enfold him
Tell him he dreams to tangle me
Even if only for a moment
Tell him in dreams to think of me
Even if just for a moment
Shine on in reverie
Shine on him
Tell him, oh, tell him
I am here, waiting
Shine on in reverie
Shine on him
Tell him, oh, tell him
I am here, waiting
If a human soul should dream of me
May he still remember me on waking
Dear moon, oh, shine for him
Shine for him
Shine, oh, shine for him
Best of luck!
LOLOL...I wonder the same thing! People liked her performance in Phantom I guess? However, her interpretation of operatic arias is just plain ridiculous. She has the voice of a freshman voice major...if that. I squirm when I hear her sing anything legit and get rather annoyed when people mistakenly call her a mezzo soprano... She's one big classical mess who wouldn't last 10 minutes in an actually operatic production!