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Post by mihizawi on Nov 13, 2010 23:50:46 GMT
And, of course, I find Faryl's words extremely interestiing. As many of you know, I like the idea of a Classical Crossover singer crossing over to Opera, it's a brave and ambicious wish, I know Faryl has the talent to do it, but she'll have to work hard to achieve it. I wish I can hear it if she gets there.
One good thing is that if she achieves the level to be seen as a serious classical (if not opera) artist, the market may not give her as much fame as the Classical Crossover, but certainly it gives more chances for a long-term career, you don't have that much the preasure of the market, of getting sales.
Michal
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Post by mihizawi on Nov 13, 2010 23:57:31 GMT
Maybe the solution would be Hayley recording with Deutsche Gramophon? xD, that would be interesting. That seems unlikely. Decca and Deutsche Grammophon are both labels of Universal Music, and they are unlikely to think she would fit better in the DG catalogue than the Decca one. In ny case she would probably still be recording in the same studios. But remember Hayley is coming to the end of her contract with Decca and has just changed management, so there could be big changes next year. I know, Roger, I know... I was just saying that the way classical music is produced is quite different to the way pop (and many classical crossover) is. I bet that if you do the same comparison as Dave on a classical track, the result is almost identical to the original recording. I was just saying it would be interesting to hear Hayley having a recording in these terms, but who knows, maybe even we'll see it without her changing the label (only guessing, but Ennio's music may be produced more close to what we mean here). Michal |
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Post by Elliot Kane on Nov 14, 2010 15:38:59 GMT
And, of course, I find Faryl's words extremely interestiing. As many of you know, I like the idea of a Classical Crossover singer crossing over to Opera, it's a brave and ambicious wish, I know Faryl has the talent to do it, but she'll have to work hard to achieve it. I wish I can hear it if she gets there. One good thing is that if she achieves the level to be seen as a serious classical (if not opera) artist, the market may not give her as much fame as the Classical Crossover, but certainly it gives more chances for a long-term career, you don't have that much the preasure of the market, of getting sales. Michal I'm not sure I really like the idea of Faryl crossing over into opera full time. Operetta, sure, but not opera!  Performing an opera without mics is an interesting ambition, though. I'm sure she'll get the chance, some day. I'd like to see her duet with (Opera singer) Nathan Gunn, though... That would be interesting... |
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Post by martindn on Nov 14, 2010 20:51:32 GMT
But remember Hayley is coming to the end of her contract with Decca and has just changed management, so there could be big changes next year. I don't think the technology will be any different whoever she records with. The problem is the technology, not the management of her record company. I just wish that record companies would do something real for hi-fi fans, rather than fob us off with distorted recording designed to sound good on cheap systems. With Hayley, you need to have heard her live so that you can mentally translate what she sounds like on record to what you think she really sounded like. Martin D |
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Post by Roger-G on Nov 14, 2010 21:32:27 GMT
But remember Hayley is coming to the end of her contract with Decca and has just changed management, so there could be big changes next year. I don't think the technology will be any different whoever she records with. The problem is the technology, not the management of her record company. I just wish that record companies would do something real for hi-fi fans, rather than fob us off with distorted recording designed to sound good on cheap systems. With Hayley, you need to have heard her live so that you can mentally translate what she sounds like on record to what you think she really sounded like. Martin D Yes I absolutely agree. My comment that you quoted was simply in reply to a suggestion that a move to DG could make a difference. It wouldn't. But I noted that a contract change could happen next year in any case. You might have observed of course that such a point would be off topic in this thread, and you would be correct to do so  |
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Post by mihizawi on Nov 14, 2010 23:03:35 GMT
I think it would make a difference, of course, not in the way you are pointing, I rather meant it for the volume balancing Dave was talking about: Even in the youtube preview of the album version of I'll make music, I can hear that the volume dynamics of Hayley's voice are left, at least to a bigger degree than in most of her Decca recordings.
Michal
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Dave
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Post by Dave on Nov 15, 2010 1:47:08 GMT
But remember Hayley is coming to the end of her contract with Decca and has just changed management, so there could be big changes next year. Not really the right thread so we may have to split out this and any replies to another thread, but I don't think we know what you have suggested, do we? If we do, please enlighten me!  There have been one or two major contract renegotiations since Hayley first signed with Decca and I for one have no idea what any of the terms of the current contract are, or when it is due to run out. In any case, as a very important member of Hayley's former entourage once said to me, where would she go, after Decca? Unless someone knows something concrete about this, we should probably not pursue it much further as it will soon become all too speculative. Cheers, Dave |
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Post by Roger-G on Nov 15, 2010 11:13:15 GMT
Dave,
Anything along these lines has to be pure speculation. I said what I said because having been involved on the edges of this business for many years I have seen numerous cases where a change to an artist's agent or management has been followed by a renegotiation or replacement of their recording contract. In fact it is almost expected. And it usually involves a request or demand by the established artist for more artistic control.
However I have no specific knowledge of Hayley's case other than comments here some time ago that the next album would be the last of Hayley's current contract. That may or may not be the case, and personally I am happy to wait and see what develops.
As I said this is all speculation and therefore of little value, so I will let the matter rest there.
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Post by martindn on Nov 15, 2010 22:26:06 GMT
Hi Roger,
I am less than convinced. For one thing I think Hayley has a lot of artistic control, perhaps more than she can really cope with. I think it is something that she fought hard for. (Don't ask me how I know that, it is just a gut feeling).
Also, I have my suspicions about why she changed her management. I won't voice them, but if you read some of my earlier posts you can probably work it out. It doesn't really say anything about her record company, who seem to have learned from past mistakes. They are cagey about the release date of her new album for a reason. Last time they revealed it too early and it all went wrong. Winter Magic achieved nothing like the success it deserved. The new album is, I'm sure, stunning and they won't make that mistake again. They know they have a winner, but they have to get the launch right this time. That is the vibe Im getting.
Martin D
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There have been one or two major contract renegotiations since Hayley first signed with Decca and I for one have no idea what any of the terms of the current contract are, or when it is due to run out.