# Dame Kiri Te Kanawa attacks 'opera fakes'



## Philmwri (Apr 8, 2011)

http://www.telegraph.co.uk/news/worldnews/1579633/Dame-Kiri-Te-Kanawa-attacks-opera-fakes.html

How do you guys feel about this? She normally makes valid points. I agree with her for the most part. I don't have a problem with classical crossover artists. I think she doesn't like how some people who don't know a lot about opera confuse classical crossover/popera with actual opera. Many classical crossover artists make it known that they aren't opera singers. I personally like what the crossover music has done, because it has exposed opera to audiences that may have otherwise never would have given it the time of day.


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## Vaneyes (May 11, 2010)

From a lady who tested her acting skills further, with appearances on Downton Abbey.


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## MAuer (Feb 6, 2011)

I'm with Dame Kiri on this. I once read a very interesting editorial in _Opera Now[ /I]that characterized the "popera" genre as a sort of halfway house for those reluctant to take that final step and actually attend an opera. According to the writer (who I think may have been Mark Glanville), most of these crossover fans stick with this type of music and go no further. In contrast, the Three Tenors concerts -- whatever one may think of this type of event -- evidently did bring new fans to opera, perhaps because Messieurs Pavarotti, Domingo, and Carreras were/are bona fide, major international opera singers._


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## deggial (Jan 20, 2013)

I hate popera, so yea.


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## Aramis (Mar 1, 2009)

I like when opera singers are not afraid to make strong statements instead of being "nice persons" that would agree to sing with anybody, because "why not". She doesn't say anything new though, people like Alfredo Kraus or Franco Bonisolli have already explained the subject. But maybe it has to be said over and over again and never stop reoccuring, just like the popera thing.


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## Bellinilover (Jul 24, 2013)

I heard Dame Kiri make basically the same points on a Met broadcast intermission feature several years ago. Basically, I agree with what she's saying. I have great respect for opera singers -- i.e. people with classical voice training who make their living singing complete operatic roles onstage -- and I have great respect for good Broadway-style singers and for good pop singers. But I have little respect for pop singers who, without the right type of voice and training and without an understanding of the proper style, sing a few operatic arias and _call themselves classical or opera singers_; it's their use of the term opera or classical singer that really annoys me. The people Dame Kiri refers to would never be able to project in an opera house without a microphone, nor do they have the years of training in classical vocal technique, interpretation, languages, etc. that is necessary to be a great opera singer.


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## Bellinilover (Jul 24, 2013)

Vaneyes said:


> From a lady who tested her acting skills further, with appearances on Downton Abbey.


I don't see why that in itself is a shameful thing. "Downton Abbey" is a well-made series, IMO, and opera singers are actors in a sense. I actually didn't know she was on "Downton Abbey" -- did she do a bad job, or something?


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## quack (Oct 13, 2011)

The very definition of singing to the choir though. Opera singer tells opera fans that popera isn't opera and opera fans agree. Pop opera fans don't notice and don't care and keep listening to popera and calling it opera.

The first two acts should involve a heroic but hapless tenor trying to explain that to a popera fan soubrette and a basso buffo with the grande dame's plaintive final aria in the final act about fake opera after which she stabs herself, or everyone listening.


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## DavidA (Dec 14, 2012)

Of course, Kiri herself did plenty of crossover stuff - eg West Side Story, in which she (a NZ woman) sang a Spanish girl while her Spanish tenor sang an American boy!


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## Pip (Aug 16, 2013)

Bellinilover said:


> I don't see why that in itself is a shameful thing. "Downton Abbey" is a well-made series, IMO, and opera singers are actors in a sense. I actually didn't know she was on "Downton Abbey" -- did she do a bad job, or something?


No she did not do a bad job. She appeared as Dame Nellie Melba in her late 50s, and sang O mio babbino Caro at a private house party. She did OK.
As for her article, it is not new, but I agree with her.


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## Aramis (Mar 1, 2009)

Not to mention that film appearances are not the same thing at all. When Carreras played Gayarre in that Spanish movie (Romanza Final) that was actually pretty good excuse to extend his repertoire as far as to sing some Wagner - was that popera? Likewise, if Kiri sung legitimate Puccini in movie scene depicting soprano recital, what does it have to do with popera?


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## Ingélou (Feb 10, 2013)

Bellinilover said:


> I don't see why that in itself is a shameful thing. "Downton Abbey" is a well-made series, IMO, and opera singers are actors in a sense. I actually didn't know she was on "Downton Abbey" -- did she do a bad job, or something?


We watch 'Downton Abbey'; but while I was writing this post my sister rang & I see Pip has got in ahead of me.

I agree with Pip that she sang well, but I'm sorry to say that we didn't get much of a chance to enjoy the singing because an electrifying event was taking place simultaneously, intercut with the performance, which distracted us not a little.

Dame Kiri's acting was a little wooden, in my opinion, but she didn't get many lines or any chance to flesh out her character; she was playing Nellie Melba & the television character was apparently very unlike the real Dame Nellie.


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## katdad (Jan 1, 2009)

I agree totally with Dame Kiri. I don't think she's concerned about some genuine opera singers who've made pop albums. You certainly can't consider singers such as Bryn Terfel or Placido Domingo as "fakes" because they've made pop crossovers.

Kiri is talking about singers who pretend to be classical/operatic singers (Charlotte Church for example, who sounded like Minnie Mouse).

Kiri is tops in my book.


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## deggial (Jan 20, 2013)

Bellinilover said:


> But I have little respect for pop singers who, without the right type of voice and training and without an understanding of the proper style, sing a few operatic arias and _call themselves classical or opera singers_;


yes, what is this term _classical singer_? what does it even mean? leaves the impression that you're more sophisticated than a pop singer without putting in the effort and training of an actual opera singer. So basically a pop singer who sings arias but doesn't want to say so.


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## deggial (Jan 20, 2013)

DavidA said:


> in which she (a NZ woman) sang a Spanish girl while her Spanish tenor sang an American boy!


well, neither is Spanish or Austrian and she sang the Countess and Die Marschallin


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## deggial (Jan 20, 2013)

quack said:


> with the grande dame's plaintive final aria in the final act about fake opera after which she stabs herself, or everyone listening.


you forgot the Verdian choir of true opera fans backing her up along the way!


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## Bellinilover (Jul 24, 2013)

deggial said:


> yes, what is this term _classical singer_? what does it even mean? leaves the impression that you're more sophisticated than a pop singer without putting in the effort and training of an actual opera singer. So basically a pop singer who sings arias but doesn't want to say so.


Well, when I hear the term "classical singer" I think immediately of someone who sings, say, Bach or Leider or French art song. So basically, I think of someone who sings "classical" music in a concert format rather than operatic roles in an opera house.


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## Bellinilover (Jul 24, 2013)

Pip said:


> No she did not do a bad job. She appeared as Dame Nellie Melba in her late 50s, and sang O mio babbino Caro at a private house party. She did OK.
> As for her article, it is not new, but I agree with her.


That sounds interesting; I'll have to seek out the episode.

By the way, I've been meaning to tell you, Pip, that I love your avatar: John Mills in the David Lean film of _Great Expectations_ from the 1940's. I'm a big fan of that film and the _Oliver Twist_ from the same period.


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## PetrB (Feb 28, 2012)

DavidA said:


> Of course, Kiri herself did plenty of crossover stuff - eg West Side Story, in which she (a NZ woman) sang a Spanish girl while her Spanish tenor sang an American boy!


And what a God-Awful travesty that recording is, too!

I think we can safely assume all those singers were just in that one for the money


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## Couac Addict (Oct 16, 2013)

Personally, I think they're is only one to settle it.
...with an "opera battle".

Jenkins vs Bartoli - Live in HD at the Met.


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## mamascarlatti (Sep 23, 2009)

Couac Addict said:


> Personally, I think they're is only one to settle it.
> ...with an "opera battle".
> 
> Jenkins vs Bartoli - Live in HD at the Met.


Bartoli will eat Jenkins for breakfast and spit out the plastic bits. Especially if she's in fierce Farinelli






or Steffani mood










What hope has a simple Welsh Barbie doll against this?


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## deggial (Jan 20, 2013)

Bellinilover said:


> Well, when I hear the term "classical singer" I think immediately of someone who sings, say, Bach or Leider or French art song. So basically, I think of someone who sings "classical" music in a concert format rather than operatic roles in an opera house.


oh, forgot about that possibility. Still a misnomer for a popera singer, then.


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## Aramis (Mar 1, 2009)

mamascarlatti said:


> What hope has a simple Welsh Barbie doll against this?


To sing Elsa von Brabant's part about giving in to her saviour and thus summoning Ken-Lohengrin to finish Bartoli off with plastic toy sword.

Then at least her performance would contain something that is golden standard for world's top opera houses' performances. And that would be the plastic toy sword.


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## Vesteralen (Jul 14, 2011)

If people want to delude themselves into thinking they like opera when they are really listening to popera, why should Dame Kiri care? Tell her to take a chill pill.


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## moody (Nov 5, 2011)

Bellinilover said:


> I don't see why that in itself is a shameful thing. "Downton Abbey" is a well-made series, IMO, and opera singers are actors in a sense. I actually didn't know she was on "Downton Abbey" -- did she do a bad job, or something?


She was playing Melba. Edit. I see it has already been pointed out.


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## Ebab (Mar 9, 2013)

PetrB said:


> And what a God-Awful travesty that recording is, too!
> 
> I think we can safely assume all those singers were just in that one for the money


I don't think there has ever been a better recording of the orchestral parts of this musical; they are substantial, challenging and very enjoyable here. Regarding the vocal parts, one may get past the idea of casting operatic singers, or not. I think they're a mixed bag, no better, no worse. Carreras' "Maria" is divine, while his "Something's Coming" is probably the one true letdown of the recording, simply beyond his vocal cosmos. Dame Kiri is not a very convincing Maria per se, but I so much enjoy each and every one of her numbers -- bless her, she is _good_, and_ fun_! Tatiana Troyanos is another unlikely choice as Anita, but she has me floored with each of her appearances. The "America" girls, dead-on, funny and wonderful! The Jets and the Sharks -- OK, Kurt Ollmann is a bit stiff, but the characterizations are sharp and very funny.

Overall, I think this recording is vastly underrated. If you want to blame someone for not choosing the Broadway creme available at the time, blame Deutsche Grammophon for their concept. I think Bernstein did a marvelous job with the cast chosen, and I think he made the best possible recording of the orchestral parts. I'll forever be grateful for that!


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## Couac Addict (Oct 16, 2013)

mamascarlatti said:


> What hope has a simple Welsh Barbie doll against this?


Well, I know that I never look directly into her eyes for fear of bursting into flames.


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## Vaneyes (May 11, 2010)

I've got to kiss that bald head.


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## gellio (Nov 7, 2013)

Why does she care so much? This is the type of snobbish talk that drives people away from opera. I don't like popera and I don't listen to it. But, I believe it is only good for opera. If someone hears popera and it propels them to opera, then great. Kiri's comments only perpetuate the stereotype that those that work in and love opera are a bunch of snobs. This article has really made me lose respect for her.


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## mamascarlatti (Sep 23, 2009)

It won't propel anyone into opera. Popera listeners listen to popera. It's not opera. It's O sole mio. 

But more importantly popera singers use microphones. What Te Kanawa is saying is that in order to move beyond that, to project your voice unamplified in an opera house over a full orchestra, requires far more training, skill and dedication than to sing O sole mio into a microphone. So she's requesting, please, don't say that it IS the same.


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## Aramis (Mar 1, 2009)

mamascarlatti said:


> It won't propel anyone into opera. Popera listeners listen to popera. It's not opera. It's O sole mio.


O Sole Mio isn't popera. O Sole Mio is Neapolitan song. Unless performed in very lowbrow arrangement, I don't mind Neapolitan songs sung by opera singers - if you read a little bit about it, it turns out that many of them have been written for classically trained singers. Therefore it's different story than singing musicals, movie songs or all the plain pop stuff.


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## mamascarlatti (Sep 23, 2009)

Well, that's fair enough, but it's is often performed by popera singers with a microphone. Then it becomes popera.

What it isn't is opera, although people often say it is.


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## gellio (Nov 7, 2013)

mamascarlatti said:


> It won't propel anyone into opera. Popera listeners listen to popera. It's not opera. It's O sole mio.
> 
> But more importantly popera singers use microphones. What Te Kanawa is saying is that in order to move beyond that, to project your voice unamplified in an opera house over a full orchestra, requires far more training, skill and dedication than to sing O sole mio into a microphone. So she's requesting, please, don't say that it IS the same.


I know popera and opera are different. I'm not stupid. Popera can only help opera. I know what point she was trying to make, but she didn't have to be nasty and disrespectful. She's probably just miffed because Hayley Westenra is more famous in her native land than she is.


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## starthrower (Dec 11, 2010)

Ebab said:


> I don't think there has ever been a better recording of the orchestral parts of this musical; they are substantial, challenging and very enjoyable here. Regarding the vocal parts, one may get past the idea of casting operatic singers, or not. I think they're a mixed bag, no better, no worse. Carreras' "Maria" is divine, while his "Something's Coming" is probably the one true letdown of the recording, simply beyond his vocal cosmos. Dame Kiri is not a very convincing Maria per se, but I so much enjoy each and every one of her numbers -- bless her, she is _good_, and_ fun_! Tatiana Troyanos is another unlikely choice as Anita, but she has me floored with each of her appearances. The "America" girls, dead-on, funny and wonderful! The Jets and the Sharks -- OK, Kurt Ollmann is a bit stiff, but the characterizations are sharp and very funny.
> 
> Overall, I think this recording is vastly underrated. If you want to blame someone for not choosing the Broadway creme available at the time, blame Deutsche Grammophon for their concept. I think Bernstein did a marvelous job with the cast chosen, and I think he made the best possible recording of the orchestral parts. I'll forever be grateful for that!


I recently watched the making of that album documentary on YouTube. It's a great reminder of what a monumental collective effort it is to make one of these recordings. It was a great pleasure to watch these great artists at work.


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## mamascarlatti (Sep 23, 2009)

gellio said:


> I know popera and opera are different. I'm not stupid. Popera can only help opera. I know what point she was trying to make, but she didn't have to be nasty and disrespectful. She's probably just miffed because Hayley Westenra is more famous in her native land than she is.


My point is that popera does not help opera, it replaces it. People listen to El Divo or Bocelli or Jenkins and think they've heard opera. This does not translate to buying a ticket to La Traviata from NZ opera. I think the Met opera HD has more effect in that respect.

And as I live in her native land, I can tell you that Kiri at least as famous here as Hayley. Although less marketed.

But I agree that her way of putting it does her no favours as it comes over as arrogant. She's not known for humility, our Kiri.


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## Couac Addict (Oct 16, 2013)

mamascarlatti said:


> My point is that popera does not help opera, it replaces it. People listen to El Divo or Bocelli or Jenkins and think they've heard opera. This does not translate to buying a ticket to La Traviata from NZ opera. I think the Met opera HD has more effect in that respect.
> 
> And as I live in her native land, I can tell you that Kiri at least as famous here as Hayley. Although less marketed.
> 
> But I agree that her way of putting it does her no favours as it comes over as arrogant. She's not known for humility, our Kiri.


My first job was in the classical department (what's that?) of a record store (what's that?). It coincided with the Italian World Cup, so Pavarotti sales were nothing short of amazing. However, I can't recall any increase in sales beyond a "Best Of.." Pavarotti record. You would think that Turandot sales might have jumped (even a Pavarotti Turandot) but you'd be wrong.

On an unrelated note (or, is it?) I walked into a dvd store last week and every dvd (literally) in the _opera section_ was Andre Rieu. What a great introduction to opera that would be


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## Couchie (Dec 9, 2010)

I find her comments half truth, half not ageing gracefully.


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## Aramis (Mar 1, 2009)

Couchie said:


> I find her comments half truth, half not ageing gracefully.


It's ageing very gracefully for opera standards, turning into retired mentor, she's like old samurai who can't fight in real battle but watches young samurai fight and says HMMM IF YOU WOULD DIP YOUR BLADE THREE DEGREES TO LEFT IT WOULD REFLECT THE SUNSHINE AND BLIND YOUR OPPONENT and they are amazed on what he knows so that's how Kiri Te Kanawa is she is sitting in opera temple and saying to young generations what is good and what is bad from the height of legendary artistic status that's how it is

now compare that with things that other aged opera stars do


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## Lucrezia (Nov 21, 2013)

I dearly hope that listening to Jenkins's and Il Divo recordings have made someone go further and buy, at the very least, "The Best of Pavarotti" or even Don Carlos CD or DVD, for instance, but, pardon me, I very much doubt. So I would agree with Dame Kiri here. She may be not very gentle in formulating her ideas but she kind of has a right to say what she thinks.


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## Vesteralen (Jul 14, 2011)

mamascarlatti said:


> My point is that popera does not help opera, it replaces it. People listen to El Divo or Bocelli or Jenkins and think they've heard opera. This does not translate to buying a ticket to La Traviata from NZ opera.


It's hard to tell if this is right or not. It kind of presupposes that people have this hole in their being that only opera can fill, and that by filling that hole with popera they are doing the equivalent of eating junk food and feeling filled up.

I'm not sure that's true. I would think it much more likely that the kind of person that would be satisfied with popera would not be the kind of person that would like real opera anyhow.

I guess the only "proof" of this would be to show that as sales of popera go up, sales of opera go down to the same degree.

I realize that it can be irritating when other people confute your love with something of lesser value. Personally, I tend to just laugh that off. I don't let it upset me.


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## mamascarlatti (Sep 23, 2009)

Vesteralen said:


> I realize that it can be irritating when other people confute your love with something of lesser value. Personally, I tend to just laugh that off. I don't let it upset me.


Hehe, it's not so much that, it's when you go to someone's house and they say "Oh you love opera, don't you" and then you are subjected to three hours of wall-to-wall Jenkins/Bocelli/Il Divo until you are ready to slice off your own ears.


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## Copperears (Nov 10, 2013)

On the one hand, it feels like just another aspect of the rapid, overall dumbing-down of civilization and the arts, where little amateur children can take a dump in public and expect to be called geniuses for having done so.

On the other hand, there were reams and reams of junk pseudo-classical records sold on late-night TV a generation ago, and that was no better.

It's like buying an encyclopedia and trying to read it front to back in an attempt to look literate; or to call oneself a citizen of the world after having gone on three different Carnival Cruises.

The majority of everything has always been cheap junk, and there's room for that, too, I just keep it out of my world and we're all fine.

Dame Kiri would be happier if she did same.

I'm not about to convince a Marvel Comic Books fan to read through all of Remembrance of Things Past purely for the pleasure of enjoying its wit, no siree.


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## wagner4evr (Jul 10, 2010)

Much as I can't stand popera/classical crossovers, if it's bringing newcomers to the real thing I say more power to it. But is it? We went to the Met's live broadcast of Tosca recently and I was shocked at how few <40 faces I saw in attendance. That isn't good.

I guess I'd predicate my opinion on what said popera star is claiming, rather than Kiri's statements alone. It seems astonishing to me that a pop singer would be dumb enough to label him/herself fully opera capable because they can sing a simple aria. Hell, I have zero formal education in music, and even I know the development of a true operatic voice can take a lifetime. I went to a Messiah singalong once (church), and a tenor and soprano who I'd seen perform for Seattle opera were there. We're talking close quarters, comparatively. All 150 participating couldn't match the vocal impact of those two voices. Wall shaking. Now THAT was something.


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## deggial (Jan 20, 2013)

Copperears said:


> I'm not about to convince a Marvel Comic Books fan to read through all of Remembrance of Things Past purely for the pleasure of enjoying its wit, no siree.


thing is you don't know that a comic book fan will absolutely hate Proust. Most will find it tedious but there are always those people who just need exposure to something and then they take to it. I say exposure is always good. What the other does with it is their choice but it can't hurt. Now of course hearing KJ's attempts at opera doesn't really count as exposure  I've seen people in the comments of KJ videos ask "well, if her version of Una voce poco fa is not good, can someone point me to a good one?" I'm always tempted to reply "buddy, you're on youtube, what stops you from looking around a bit?"


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## Flamme (Dec 30, 2012)

I like that ''Dame''


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## Flamme (Dec 30, 2012)

Couchie said:


> I find her comments half truth, half not ageing gracefully.


LOL Couchie you are too funny!:lol:


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## Yardrax (Apr 29, 2013)

Copperears said:


> I'm not about to convince a Marvel Comic Books fan to read through all of Remembrance of Things Past purely for the pleasure of enjoying its wit, no siree.


More of a DC fan, I take it?


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## Revenant (Aug 27, 2013)

deggial said:


> thing is you don't know that a comic book fan will absolutely hate Proust. Most will find it tedious but there are always those people who just need exposure to something and then they take to it. I say exposure is always good. What the other does with it is their choice but it can't hurt. Now of course hearing KJ's attempts at opera doesn't really count as exposure  I've seen people in the comments of KJ videos ask "well, if her version of Una voce poco fa is not good, can someone point me to a good one?" I'm always tempted to reply "buddy, you're on youtube, what stops you from looking around a bit?"


Yes, but what if a comic book artist looks into _A la Recherche du Temps Perdu_, likes it and - horrors - decides to turn it into a comic book? What price exposure then?


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## deggial (Jan 20, 2013)

Revenant said:


> Yes, but what if a comic book artist looks into _A la Recherche du Temps Perdu_, likes it and - horrors - decides to turn it into a comic book? What price exposure then?


we live in *horrible times*, my friend...


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## wagner4evr (Jul 10, 2010)

Revenant said:


> Yes, but what if a comic book artist looks into _A la Recherche du Temps Perdu_, likes it and - horrors - decides to turn it into a comic book? What price exposure then?


Now that would make one boring comic book, especially Guermantes Way :lol:. Which volume was your favorite?

So...assuming this crossover genre is not bringing newcomers to opera, what will/is? We cancelled our season tics this year because we didn't care for the lineup, and I've literally lost count the number of times they've called. Makes me wonder...


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## deggial (Jan 20, 2013)

wagner4evr said:


> So...assuming this crossover genre is not bringing newcomers to opera, what will/is?


opera does. People are still getting into opera. That's how I got into it: I went on youtube and listened to arias sung by proper singers. I started with the most obvious names (Callas, Sutherland, Domingo etc.) and the most obvious arias and took it from there. I only learned about KJ and the rest of popera stars a few months into listening to opera. Actually I knew who Charlotte Church and Sarah Brightman were but it didn't occur to me to think of them as _opera_ singers. I thought they were sort of new age


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## Ebab (Mar 9, 2013)

Dame Kiri has made quite a few excursions into the Popular and Vocal/Theatrical world herself: “Kiri sings Gershwin”, “Kiri sings Kern”, “Kiri sings Porter”, “Heart to Heart” (a Pop album with fellow New Zealander Malcolm McNeill), “Blue Skies” (a set of standards with legendary arranger Nelson Riddle), an album with Michel Legrand, full album recordings of “West Side Story”, “My Fair Lady”, “South Pacific”, ... 

I enjoyed some of these efforts; some, regrettably, not so much. It’s not that singers with the best operatic techniques are always naturally talented to do also the Great American Songbook successfully. Sometimes they’re painfully not. It takes a different set of skills, and the success also depends on the concepts chosen for the recordings. Sometimes it works, sometimes it doesn’t.

When Pop singers try to do a kind of operatic singing, I don’t expect Dame Kiri to necessarily like it (I typically don’t either). It would be appropriate though to remember the amount of tolerance that she had obviously expected from the Broadway world herself, trying her luck at “their” material.


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## Seattleoperafan (Mar 24, 2013)

A la Recherche du Temps Perdu is not a book I enjoy reading in a book, but in an act of popularizing, I found it to be my very favorite book to listen to on audio-book and have done so about 4 times. I think the power and beauty of the writing lends itself best to being heard aloud and it does take a lot of the workout of deciphering the labyrinthine sentences. Don't think less of me. Perhaps there are people who love seeing opera in a movie theater but not live, which is incomprehensible to me as I prefer the sound of the live voices, though people who are used to TV might prefer seeing the artists up close. Pardon my rambling.


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## Roland (Mar 13, 2013)

Ebab's post made me consider the question "What opera singers do I enjoy hearing when they sing popular Broadway tunes?" I think Dawn Upshaw has a real talent in this area. I am always impressed when I hear Jerry Hadley sing a popular song. Sadly, Jerry Hadley is no longer around, but Dawn Upshaw seems to put a lot more effort into recitals than into opera--and uses popular tunes as well as art songs in her recitals.

I've read on other threads how many on this site prefer Italian, German, French, Russian or other languages for listening to operas. I have to agree that English has some vowel sounds that aren't that attractive were they to be sung in an elongated operatic fashion, but English sounds fine to me when set to music in a popular song.

Is there anyone else out there who enjoys the American Songbook sung by opera singers? Who are your favorites?


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## Seattleoperafan (Mar 24, 2013)

Stephanie Blythe is getting rave reviews for her recitals of Kate Smith material, though I'd much rather hear her big voice in Wagner. The American Songbook has never been served better than by Eileen Farrell. I did not universally like Jessye Norman's pop recordings, some of the songs were quite successful.



 Jessye Papa Can You Hear Me.



 Eileen Farrell Laura


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## MAuer (Feb 6, 2011)

I have a recording of Thomas Hampson singing Stephen Foster songs that I enjoy very much. "_Hard Times Come Again No __More_" is one of the most beautiful selections. Here he sings it in concert:


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## Ebab (Mar 9, 2013)

Roland said:


> Is there anyone else out there who enjoys the American Songbook sung by opera singers? Who are your favorites?


I am intrigued by the idea of music transcending barriers. But I have to face it: classical singers doing popular works - the effort fails more often than it succeeds.

Albums that I like:

Kiri Te Kanawa, "Blue Skies" (1985), with Nelson Riddle; the last effort in the career of the exceptional arranger. Many critics have dismissed this album as "elevator music", and I can understand where they're coming from. But there is a kind of serenity to it, a bit of melancholy, an elegantly understated honesty … this album has remained with me as an exceptionally faithful friend.
Anne Sofie von Otter, "For The Stars" (2001), with Elvis Costello. Not strictly a Great American Songbook album, but one that I think is _really_ successful. A little edgy at times, quite possibly worth your while.
Anne Sofie von Otter, "I Let The Music Speak" (2006), the album that features songs of the ABBA composers, Benny Andersson and Björn Ulvaeus. These composers have, to a substantial degree, formed my musical identity; so I'm sentimentally connected to begin with. But even if I weren't, I think I'd like this album. It's somewhat "unplugged", like a bunch of friends coming together to make music for fun; no frills. And the melodies are just heavenly, some of the lyrics work quite well, too. "I walk with you, Mama" may be sob stuff for some, but is dear to me. Not anybody's taste, but has my recommendation as well.


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## sabrina (Apr 26, 2011)

I liked Il Volo in the beginning when they were just discovered. They were so young and talented. My hope was they might go on, study singing to become tenors or baritones. But apparently they stick to pop opera, even simple pop, so bye bye Il Volo…to much marketing killed them.


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## DonAlfonso (Oct 4, 2014)

Vesteralen said:


> It's hard to tell if this is right or not. It kind of presupposes that people have this hole in their being that only opera can fill, and that by filling that hole with popera they are doing the equivalent of eating junk food and feeling filled up.
> 
> I'm not sure that's true. I would think it much more likely that the kind of person that would be satisfied with popera would not be the kind of person that would like real opera anyhow.
> 
> ...


It may be true that some will come to approach and appreciate opera via the popera route - though I think very few. However the opposite is not possible. I can't imagine an opera lover abandoning opera for popera therefore your "proof" is impossible. To rephrase your second paragraph "I would think it much more likely that the kind of person that likes real opera would not be the kind to be satisfied with popera anyhow."

As others have pointed out the use of mikes (and who knows what digital enhancement) is the telling argument. I have no problem with these singers having popularity and successful careers so long as they don't describe themselves as "opera" or "classical" singers. If they do they are indeed "fakes" as Dame Kiri said.


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## bigshot (Nov 22, 2011)

Opera demands two things of a performer... singing and acting. If they are able to do both of those things well, fine. If they do one a little better than the other... well, OK. If they just do one or the other, they aren't an opera singer.

It isn't about style or genre. It's about chops.


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## Sloe (May 9, 2014)

As long as the popera singers are open that they use microphones and don´t call themselves opera singers I can´t see why they would be fakes. I see popera as a genre of its own.


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