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Russell Watson · The Voice
Music CD CoverEdition: Music CD CD Release Date: 2001-04-17 Music Label: Decca Soundtracks: - Nella Fantasia
- Amor Ti Vieta
- Pelagia's Song (Captain Corelli's Mandolin)
- Caruso
- Miserere
- Panis Angelicus
- Non Ti Scordar Di Me
- La Donna E Mobile
- Saylon Dola
- Someone Like You
- Bridge Over Troubled Waters
- Vienna
- Funiculi
- Barcelona (With Shaun Ryder)
- Nessun Dorma! [From Turandot]
Free Music Notes for Russell Watson · The VoiceFree Music Review: Tenor For the Masses! Hit: 5 Stars
I hesitate to add my two cents where others have commented in such number. Still, there are a couple of observations I'd like to pass along, hoping they provide further insight into the phenomenon of Russell Watson and his singing.
First of all, I bought this CD never having heard of Mr. Watson--I just liked the looks of it and thought I'd give it a try. So my perception was based solely on what the CD offered. And I liked it! Both the first time and the next several times. (If I want to get analytical, I can find flaws here and there, but somehow I always enjoy hearing it. Period.)
Why do I like it? For a starter, the performances are musical, interesting, exciting, and aesthetically appealing--and that's my first test of quality. (What good is the greatest, most refined, rendition if you find your attention wandering?) Next, I think Watson's musical instincts (and those of whoever else assisted in creating this CD) are pretty much dead-on. There isn't one track I don't like, though some are clearly my favorites.
OK, the operatic bits don't sound like Pavarotti or Domingo, whom I also love very much. So what? Who says there has to be only one way to do an aria? This music is good enough to support a variety of interpretations. (Now if I could only afford one CD, I'd have to be more demanding.)
This is music for regular people, not necessarily for the elite, and I'm enough of a musical democrat to welcome it. If Watson didn't emerge from a high-class musical background, but still found his way to this music, I say more power to him! He must have an inborn feeling for it, and enough of a voice to perform it convincingly.
We've known a few other tenors from humble musical settings who've risen to popular acclaim (e.g., Mario Lanza). They happen to hear some fine tenor singing and find they can imitate it, and not too badly. With a little encouragement they keep at it, take a few lessons, and soon they're on their way. Where they go from there depends on talent, luck, and choices. I don't know where Watson's career will go in the long run, but I like this initial CD (and the two or three following it).
One concern I felt in listening to "The Voice" was for the voice itself. It seemed to me that Watson might have been forcing it too much, in heroically belting out those high notes. From what I now read, that concern was well founded, for Mr. Watson has had to undergo throat surgery. I hope his recuperated voice will retain the excitement and charm we have grown accustomed to and will serve him (and us) for many years.
Russell Watson · The Voice PosterFull length LP from the British tenor that shot straight to the top of the UK classical charts. Features many beautiful renditions of classical & e-z listening standards, plus a version of 'Nessun Dorma', which Watson often sings before high-profile English soccer matches. Russell Watson's story is a classic rags-to-riches fairy tale: The former welder, after years of singing in pubs and clubs, traveled from Salford, his hometown, to London. He turned up unannounced at the Decca offices and was promptly signed up by one of the most important classical labels in the world. Vocal coaching followed, as did a number of successful live appearances supporting Cliff Richard. Now, we have this recital CD, which explores a wide range of musical styles. Watson's Italian is a little ponderous in tracks such as "Amor Ti Vieta," but this is more than offset by his captivating and utterly natural-sounding tenor voice. The inevitable popular arias are here, namely "La Donna è Mobile" and "Nessun Dorma," sung with a refreshing and youthful vitality. Pop tracks, including Ultravox's classic 1980s hit "Vienna" and a witty cover version of "Barcelona" sung with former Happy Mondays frontman Shaun Ryder, sit comfortably on the disc. Watson performs them with integrity, not simply paying lip service to the music of his generation. Watson has the potential to do for classical music what Jamie Oliver has done for cookery, and there are few people who won't find this debut CD appealing. --Rebecca Agnew
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