Não se enganem: Embora tenha uma carreira relativamente curta, Il Divo já está integrado a uma tendência musical que vem ganhando reconhecimento sob a denominação de “Classical Crossover”. Embora os rótulos sejam, às vezes, inadequados, entendo que, a partir do reconhecimento do talento do artista e sua referenciação com um determinado gênero, demonstra que, na realidade, se consolidou um novo segmento na música que, como tal, naturalmente, tem seus seguidores. Observo, também, o crescente número de artigos, reportagens, prêmios especializados e o surgimento de mídias especializadas no assunto. Isto significa em uma palavra: sucesso. A crescente difusão dos artistas tidos como integrantes do gênero e do crescente número de matérias relacionadas, me incentivou a abrir uma nova página dedicada especialmente à nova tendência musical de que Il Divo já se tornou um do ícones. Aqui reproduzirei artigos sobre os artistas a este segmento da música.
Nothing is too pop to be classical
Members of supergroup Il Divo in Sydney in 2007. Their audience couldn’t give a fig for baroque opera on period instruments. Picture: Craig Greenhill Source: The Australian
IN the interests of research I spent the weekend listening to crossover music.
There’s no point trying to resist the crossover invasion: it has already happened
I dug out all my old favourites: the operatic supergroups Il Divo and Amici Forever; stadium tenors Andrea Bocelli and Russell Watson; babes with violins Vanessa-Mae and Bond.
This is not the music of rock ‘n’ roll radio but of international sports broadcasts. It takes melodies from the classical canon – operas, symphonies, hymns – and adds a drumbeat where there should be none.
Arias or choruses may be sung in English, or popular songs (Unchained Melody) back-translated into operatic Italian (Senza Catene). It can give goose bumps, yet it is the most unlovely music. Exquisite melodies are reduced to a syrupy concentrate with no character except for being rhythmic and loud. If, like me, you’re susceptible to music and prone to foot-tapping, you’ll soon find it intolerable.
Every few years crossover becomes news when classical music wonks decide to make an example of a group that doesn’t suit them. Remember the Bond girls, the string quartet with short skirts and a disco beat? They were banished from the British classical charts. Italian tenor Vittorio Grigolo – now singing in the opera houses of Europe – was banned in 2006.
This month it was Greta Bradman’s turn. The Australian soprano is a granddaughter of Donald Bradman and perhaps this made her an easy target: ARIA’s classical music panel ruled against her album Grace being counted on the classical chart. With tracks including Can You Feel the Love Tonight? from Disney musical The Lion King, the album was deemed too pop to be classical.
Who makes these decisions? The ARIA panel is made up of music industry professionals, critics and retailers (ARIA won’t say how many), who decide what goes on the classical chart. The definition is as simple as it is imprecise: an album need only be “of a classical nature”. It took only one panellist to whinge about Bradman for her to be disqualified. Meanwhile, the Ten Tenors were sitting at No 1, and David Garrett, playing Nirvana’s Smells Like Teen Spirit on violin, was at No 6.
We put it to a vote. Last week three tracks from Grace were posted on The Australian‘s website and readers were invited to vote on each: classical, pop or crossover?
With the aria Lascia ch’io pianga from Handel’s opera Rinaldo, the result was unambiguous: 90 per cent of respondents identified it as classical. For Pie Jesu, from Andrew Lloyd Webber’s Requiem, 65 per cent voted classical. Less clear was the result for Fix You, a Coldplay song arranged for orchestra: 24 per cent voted classical, 32 per cent pop and 44 per cent crossover.
The results do not represent the entire album. But, based on this vote, Grace would be counted as mostly classical.
Indeed, Grace is this week gracing the ARIA classical chart at No 5, after an appeal by record company Sony and a new vote by the panel.
In Bradman’s case, a fairly clear distinction can be made on repertoire choice. But should judgments also be made on matters of musicianship and taste?
Strictly speaking, crossover is where famous artists, through a combination of vanity and their record companies’ indulgence, are allowed to take their private hobbies into public: Michael Bolton singing opera arias on My Secret Passion, for example, or Kiri Te Kanawa and Jose Carreras doing West Side Story. And what about Sting’s enthusiasm for John Dowland and Renaissance lute music? I wish he had kept it to himself.
But these are matters of personal taste and listeners are smart enough to know when they are being duped. Music charts – pop or classical – are only a ranking of sales figures; they’ve never been a measure of musical excellence.
More serious is the snooty attitude that classical music diehards have for popular success. Those who speak loudest about classical music’s need to reach out to new audiences are sometimes those who trash attempts by popular artists to do so.
The Three Tenors were a watershed. A concert of opera arias and Neapolitan songs during the 1990 soccer World Cup turned into a classical music phenomenon. The CD sold millions and became a lightning rod for jealousy in the classical music scene. It was blamed for turning the classical recording industry into a chase for blockbusters and for giving rise to other stadium tenors of lesser musical stature, such as Bocelli and Watson.
The same attitude persists with Andre Rieu. The violinist has become a global success by playing Viennese waltzes and light classics. He is doing something all concert programmers dream of – taking classical music to the masses – yet he is scorned for his success.
There’s no point trying to resist the crossover invasion: it has already happened. And guess what? The audience for Rieu or Il Divo couldn’t give a fig for Haydn string quartets or baroque opera on period instruments. The crossover barbarians have arrived, and have left the classical temple alone.
At last concert programmers have realised this fact. Now they can organise popular concerts – such as next year’s Doctor Who Symphonic Spectacular with the Melbourne Symphony Orchestra – without the guilt trip. Orchestras are a publicly funded resource and should be available for popular concerts such as these, as much as for subscription master series.
In the CD business, too, the growth of crossover hasn’t killed classical recording, as the doomsayers predicted a decade ago. In fact, classical recording has proved resilient. Universal Music, distributor of Rieu’s CDs in Australia, is planning to boost output from its prestige classical labels, Deutsche Grammophon and Decca. Boutique labels here and abroad continue to put out fine recordings of core classical repertoire and new music.
The problem isn’t with classical music but with how it is perceived and how it perceives itself. Let’s have separate ARIA charts for crossover and core classical music, as they do in Britain: that way, fans of classical music will have a more accurate listing of the music that interests them.
And let’s end the sneering about crossover music: Bach, Beethoven and Verdi have nothing to fear from Il Divo and the rest.
Más de 30 temas musicales de los mejores exponentes de la ópera están integrados en un albúm doble que saldrá a la venta
CIUDAD DE MÉXICO (22/JUL/2010).- El talento de exponentes musicales como Plácido Domingo, Luciano Pavarotti, José Carrera, Montserrat Caballé y María Callas, así como el de Il Divo y Paul Potts, entre otros, se une en el álbum doble ‘Passione’, una propuesta apetecible para los seguidores de la escena del pop y la ópera.
El lanzamiento reúne los mejores intérpretes de ópera como Pavarotti, Plácido Domingo, José Carreras, Montserrat Caballé y María Callas, quienes ofrecen sus éxitos del ‘Bel Canto’, además de mostrar su incursión en otros géneros musicales como el pop.
El álbum doble también ofrece el talento de artistas más actuales con gran talento y poder interpretativo, como es el caso de Il Divo, Mario Frangoulis, Paul Potts y Amici Forever, quienes con sus destacados registros vocales, se han acercado a partituras líricas de la música de ópera más clásica y reconocida.
‘Passione’, producción doble que se perfila como un disco de colección para los amantes de ambos géneros, ofrece un total de 32 temas entre los que están: ‘Unbreak my heart’ (Il divo) ; ‘Nessun Dorma’ (Paul Potts) ; ‘Time to say goodbye’ (Sarah Brightman) ; ‘Canción de Orfeo (Manha De Carnaval) ‘ (Alfredo Kraus) .
‘Una furtiva lágrima’ (Michael Bolton) ; ‘Cuando sale la luna’ (Ramón Vargas) ; ‘Perfidia’ (Filippa Giordano) ; ‘Angel’ (Angelis) ; ‘El huésped del sevillano’ (Plácido Domingo) ; ‘El mundo’ (Costel Busuioc) ; y ‘Aria’ (Yanni) ; por citar algunos de los que incluye el disco uno.
Mientras que en el CD dos, se incluyen temas como ‘Celeste Aida’ (Luciano Pavarotti) ; ‘La donna é mobile’ (Plácido Domingo) ; ‘Oyeme’ (José Carreras) ; ‘Caruso’ (Lucio Dalla) ; ‘Hijo de la luna’ (Montserrat Caballé) ; ‘Granada’ (Mario Lanza) y ‘Ave María’ (The Priests) , entre otros.
Classical crossover music – history and increasing populariApril 15, 2010 3:46 pm
Over the years, some works of classical music have gained popularity among the fans of pop music to reach as the status of the crossover. Some of these pieces of classical music, Symphony No. 3 by Henryk Górecki, Johann Pachelbel Canon in D and the second movement of Mozart’s Piano Concerto No. 21 K. 467 of his appearance in the 1967 film Elvira Madigan.
Classical Crossover is used to refer to recordings of classical repertoire of artists, including popularBroadway Show Tunes and collaborations between pop artists and performers of classical music. A good example that fits this definition is the album of songs from the Labyrinth by Sting and Edin Karamazov. An earlier example of the classical crossover album of 1969 Deep Purple – Concerto for Group and Orchestra, during a recent example is the 1999 Metallica album S & M.
The most popular classical crossover vocal artist is Mario Lanza, American tenor and film starthe most popular in 1950, whose incredible voice caught the attention of those who were not fans of classical music. Lanza was the RCA Victor Red Label as Artist Award – Seal signed. One was his incredible music business his recording of Be My Love by The Toast of New Orleans, his second film, the number one on the Billboard pop charts in February 1951 and has sold more than 2 million copies. So far, no classical artist label, including the three tenors,This performance was the same.
However, the beginning of the classical crossover as a truly popular form of music to the famous “Three Tenors” Pavarotti and Domingo Carreras is credited. During their tour, presented the top three singers a mix of opera and popular material for a large crowd, which led the production of highly successful albums.
Classical Crossover in recent years came into its own as a genre of popular music because of theSuccess of artists such as Yo-Yo Ma and Josh Groban. By the infusion of elements of pop, rock songs and influences, such as African, Appalachian folk melodies and songs of the northern fishing, these musicians bring a new dimension in classical music.
An example of a successful crossover group Il Divo is a classic, a creation “by Simon Cowell glory of” American Idol. According to Billboard Magazine, the group’s debut album has sold nearly five million copies, and over a million in the United KingdomStates. Il Divo offers angelic operatic interpretations of pop songs that had success on the Billboard classical charts. Her style is mainly known as “Popera (Pop Opera +), singing in a popular material relates, but the style more operas. Some members of Il Divo have undergone training for work and are able to sing arias, and many to sing other materials with a classic style.
English singers like the soprano Sarah BrightmanCharlotte Church and self-taught Italian tenor Andrea Bocelli also provide interpretations of classical works. The fact that this has made use of popular singers also contributed to making classical music a popular genre of its own.
To return to the voice of folk singer fabric opera and classical singers formats such as Natasha Marsh, Bryn Terfel and Vittorio Grigolo produced albums of classical music, hoping to cash in on this type ofPopularity.
Today, music is usually classical crossover appeal to a wider population, although purists criticized it as inferior, diluted version of the true classical music. But the increasing popularity of this kind has had enough lead to more young people to gain interest in classical music, take lessons on the violin lessons, or even sing to. This has been fueled by the shiny, sexy marketing of the most successful crossoverArtists who transformed it into the modern pop star Days.
1. Nessun Dorma – Potts, Paul
2. Passera – Il Divo
3. Easter Hymn – Garrett, Lesley
4. Panis Angelicus – Church, Charlotte
5. Jerusalem – G4 (2)
6. Amazing Grace – Terfel, Bryn
7. Che Galida Malina – Domingo, Placido
8. Au Fond Du Temple Saint – Bjoerling, Jussi
9. Requiem In Paradisum – Choir Of Trinity College Cambridge
10. La Ci Darem La Mano – Dam Jensen, Inger & Francois Le Roux
11. Votre Tost – Merrill, Robert/Vienna State Opera Chorus
12. O Mio Babbino Caro – Gheorghiu, Angela
13. Sempre Ricordo – Operababes
14. Humming Chorus – RCA Italiana Opera Orchestra
15. Ave Maria – Pochin, Juliette
16. Senza Catene – Amici Forever
17. Pie Jesu – Angelis
18. Libiamo Ne Lieti Calici – RCA Italiana Opera Orchestra & Montserrat Caballe
19. Abide With Me – Fron Male Voice Choir
20. Prayer – Watson, Russell & Lulu
TOCADÉO : Nos « IL DIVO » québécois!
C’est jeudi, le 3 juin, devant une foule de plus de 300 personnes que René Lajoie, Dany Laliberté, Benoît Miron et Patrick Olafson ont monté sur la scène de l’Olympia de Montréal et sont devenus TOCADÉO. Ensemble, ils ont lancé un premier album éponyme.
TOCADÉO : Quatre voix exceptionnelles, quatre talents uniques, une même passion pour la musique et la scène!
Sous la direction du très talentueux Guy St-Onge (David Bowie, Céline Dion, Michel Legrand et les orchestres symphoniques de Montréal, de Québec, de Vancouver et de Prague) qui a signé la majorité des arrangements et la réalisation, ainsi que partagé les superbes arrangements vocales avec Marc-André Cuierrier, le quatuor à voix sensuelle, impressionnante et puissante, TOCADÉO, nous a donné une performance d’interprétations extraordinaires.
Mesdames, vous serez charmé par leur charisme, séduite par leur impact vestimentaire dupliqué parfaitement et déconcerté par leur douceur toute masculine. Mais ne vous affoler par trop rapidement car ses quatre mousquetaires des temps modernes sont tous bien accompagné de leur partenaire.
Que partagent-ils? À voir leurs parcours, nous comprenons assez rapidement que les comédies musicales ont été un lien conducteur à leur unisson vocal. Trois d’entre eux (René, Dany et Benoît) ont participé à la merveille musical Don Juan. Tant qu’à Patrick, nous pouvons lire dans sa bio qu’il a, entre de nombreux autres, participé à la comédie musical Le Petit Prince tout comme René.
Ils seront en tournée partout au Québec et au Nouveau-Brunswick et donneront une quarantaine de concerts, cinq supplémentaires et plusieurs spectacles bénéfices. Vous aurez plus de détails sur leur site internet :
Des photos sont disponibles dans notre section photoreportages
Texte et photo (scène) : Martin Charest
Trois: un trio pop-lyrique à surveiller
Serge Drouin 24/02/2010 21h01
Trois, première formation pop-lyrique du Québec.
Dans la lignée des Il Divo de ce monde, le Québec a maintenant Trois, sa première formation à se consacrer au genre pop-lyrique.Le 9 mars, le trio lancera d’ailleurs le premier album de sa jeune carrière. D’ici là, il propose un premier extrait de ce disque à venir, la pièce Voir un ami pleurer, de Jacques Brel. Ce premier simple de la formation peut être entendu sur le http://www.trio3voix.com et est offert sur 45tours.ca. Sur son album, Trois réinterprétera à sa façon les plus belles chansons du répertoire mondial.Trois est composé de Pascal Gauthier, originaire de l’Estrie. Il a travaillé avec Gino Quillico et Giorgia Fumanti. À ses côtés, Jean-Sébastien Lavoie, qui a fait parler de lui il y a quelques années en participant à À la recherche de la nouvelle star, en France. Et pour compléter le tout, Martin Moerman, de Montréal, qui a travaillé avec Meggie Lagacé et Marc-André Niquette, de Star Académie 2. À surveiller.
”After the first few notes during a concert there is always a reaction of the public,” says the French countertenor, who is counted among the finest of his generation.
One teenage girl began laughing when he opened up.
”She didn’t expect a voice like this, and this was her first reaction,” Jaroussky says amiably. ”You can think that it’s ridiculous. And I think that’s cool to have sometimes these types of reaction – you know, to keep your foot on earth.”
Far more often Jaroussky is showered with accolades for possessing such remarkable pipes, in the highest register of male vocals. It is a marketing bonus that he is also young, handsome and approachable.
The package has afforded the 32-year-old nearly pop star recognition in Europe, bringing gold-record sales in classical music without having to turn to the kind of pop crossover favoured by the likes of Il Divo. One YouTube clip of him singing picked up a million hits this month.
Jaroussky specialises in the early Italian music written for the castrati – boys castrated in the 17th and 18th centuries to keep their singing voices at soprano pitch. They were celebrities of their day.
Someone recently asked the artistic director of the Australian Brandenburg Orchestra, Paul Dyer, if Jaroussky was a castrato. ”Of course not,” Dyer says. ”Thankfully, the castration of young boys became illegal a few centuries back. I wonder if the Bee Gees were ever asked if they were castrati? It is kind of the same thing.”
Jaroussky first performed with the Brandenburg Orchestra in 2007, selling out five shows and charming critics. On his return visit to Australia he will focus on Vivaldi and Handel.
”I never wanted to imitate a woman’s voice,” says Jaroussky. ”[I'm] just trying to sing with my personal and my own voice. I felt from the beginning much more comfortable in this area of my voice. At the beginning it was just by instinct.”
His speaking voice is not especially high – it is in the upper-middle range, delivered in soft tones, crisply spoken and strongly accented.
Jaroussky began violin at school, aged 11 – though his family, from the Maisons-Laffitte area north-west of Paris, was not especially musical, he says. He later added piano, graduating from the Paris Conservatoire before starting voice training in 1996.
While the young singer protests that he likes to go out ”where I can do some excess and have fun with friends”, the discipline required to maintain his instrument at concert level is far greater than that expected of his contemporaries in pop and rock. Jaroussky is still shaping his voice.
He is still trying to reach a higher range, he says. ”I’m always seeing my teacher a lot to progress, to have control, to not be tired.
”What is maybe changing a lot in my life [is] I am singing more and more difficult things. I feel a kind of responsibility to sing in front of the public. And I’m much more careful than in the past.”
At one point Jaroussky excuses himself to turn off the hotel room’s air-conditioner. ”[It's] important to preserve your voice,” he says. ”At the beginning, of course, I didn’t feel it was so important to preserve myself. Now it’s an obligation.”
The dearth of classical music listeners his own age sits comfortably with Jaroussky. He sees no need to pursue a young audience and believes people discover the music if and when the time is right.
He remembers his reaction when he went to see the castrato biopic Farinelli.”I heard all these beautiful arias, and I was thinking, ‘Oh my God, it’s boring’. Just four years after, I was singing all the arias of this movie. You can change your mind.”
■Listen to Philippe Jaroussky sing Bach’s Pugna il guerriero at media.theage.com.au/entertainment/music/the-voice-of-philippe-jaroussky-1123278.html, from his CD, JC Bach’s La Dolce Fiamma.
Philippe Jaroussky performs with the Australian Brandenburg Orchestra at the Melbourne Recital Centre on Monday and Tuesday.