Review of Odyssey

[portia]

My suggestion to Hayley is to drop classical altogether. Because there simply isn't a big enough market for her "unique" way of singing classical, which to many elitists sounds like the skewed and incorrect way. Personally, I think classical has a certain way of singing that most people have to aspire to in hopes of being good. Like playing an instrument. You wouldn't call a screechy violin unique now, would you? It's the same to me when someone sings a classical song like a pop song, which is what Hayley tends to do.

If Hayley wants to be an artist to be remembered, I suggest she take some time off and live life a bit, write her own songs. She's eighteen and in no rush.

[fusilier23]

No offense intended, Porttia, but I must respectfully disagree with your contention that Hayley should drop classical altogether, and truth be told, I think that might not even be possible at the moment. Now, it also depends on what you mean by classical. If you are saying that maybe Hayley isn't ready for operatic solos and you question whether she ever will be, that is certainly a fair thing to say. I myself don't think Hayley's voice is as yet ready to attempt things requiring a big or heavy voice. It might sound fine, but I think she would hurt her voice more than she would help it. Her voice may never reach that level, not every voice does, and not every voice needs to i.e. Julie Andrews, who, although a wonderful singer, was never going to reach opera level. However, I do not believe that sacred pieces, hymns, Celtic, showtunes, and folk tunes all need to disappear from her repertory as well. All of these can be done in such a way as to not hurt her voice, and they are part of what makes her her.

I think there is a distinct possibility that there might also be something in Hayley's contract with Universal that requires her to deliver "five albums that qualify for the classical charts." I may be wrong, but Universal I'm sure saw the agida that Sony went through, and, if they were wise, sought to head that off with a clause to prevent Hayley from radically changing direction while working with their backing. At the very least I am sure they get a say in what goes into the albums, after all, they are providing the financing.

I must add that if Hayley decides to "drop" anything from her repertory she should not announce it as such, to do so could create a PR firestorm. If she chooses to drift slowly into an all-original direction, I think everyone will accept it, but radical breaks with the past tend to not go over well.

This discussion is probably academic, though, as Hayley seems happy with her current direction, and so, I think, are most of her fans. For the moment it's a win-win situation.

[portia]

Oh, by all means. Little Franck hymns and stuff, but no arias like O Mio Bambino Caro or Bachianas. You see I have no qualms with Hayley singing Caccini's Ave Maria, though I don't think it's the best version of it either. But please, no arias. I don't think she has the power to attempt arias anyway.

I get the feeling too that Hayley doesn't want to sing classical as much as boasted, seeing how different her tracklists are, but I agree that Universal probably has it in her contract, and since she's signed onto a classical label, she probably has to. I have a feeling Universal's trying to make her into a female Andrea Bocelli.

But what I do think Hayley can work on right now is diction, because honestly, it's terrible.

[Richard]

Hello Portia, Steven and Dave!

My introduction to Hayley was on 19th September 2003, when I saw "Pure" on a listening post and picked up the headphones. My first reaction was that her voice sounded distinctly folky, but I liked the way she sang the classical pieces because she gave them a fresh sound.

I'm very much with Hayley in her choice of musical styles. I agree that she is not a text-book opera singer by any means, and I must again say a big thank you to Dame Malvina Major for helping Hayley to develop her voice naturally, rather than trying to change it. Now Hayley's voice is maturing and becoming stronger, I see no reason why she shouldn't be a little more adventurous, as in "Aria", and I know she's wise enough not to attempt anything that would damage her voice.

If Hayley had sounded more like a standard operatic soprano, I might not have taken any notice of her, because it was her unique voice that had instant appeal for me, and millions of others. i.postimg.cc/9fYxy370/smilie-big-grin.gif

Bye for now,

Richard

[Dave]

I think Hayley's success is precisely because she sounds different ... and part of that is the fresh sound (good description, Richard) she brings to the classical part of her repertoire. It may not be sung technically in the correct way - and that may grate with some classical purists - but Hayley's appeal is mainly to the easy listening/classical crossover masses, who just like the overall sound of Hayley's voice without knowing how she does it.. That includes me - although I've listened to and enjoyed many complete Operas in my time.

I don't think the record company are the driving force behind the attempt to get Odyssey into the UK classical charts, far from it. Decca probably do have the last word contractually but I am given to understand by a source close to Hayley that they aren't too bothered about this - but Hayley is! This must be in part out of loyalty to the one UK radio station to support her with regular airplay for the last two years - Classic FM. They play tracks from Pure because it is still in the classical charts - but it's still in the classical charts because they play it. A nice bit of circularity! I think that both realise they are good for each other and already, Classic FM are doing their bit for the new release, with the first Hayley interviews and Odyssey previews scheduled in exactly two weeks time. It will be more difficult for Classic FM to play tracks (even classical ones) from Odyssey if it isn't in the classical chart.

Hayley has also said this year that she wants to continue to develop and broaden her repertoire, not narrow it - or move off in one particular direction. I think she's right - but if she does decide to change direction, she should do it very gradually.

[stephch]

I do not think Decca really care's if she is put on the UK classical chart or not as she was signed as a crossover artist not classical.And she would alway's be put on the Billboard classical crossover chart not or least she does a CC but that is not likly to happen.

[roger]

richnorri said:

Hello Portia, Steven and Dave!


If Hayley had sounded more like a standard operatic soprano, I might not have taken any notice of her, because it was her unique voice that had instant appeal for me, and millions of others. i.postimg.cc/9fYxy370/smilie-big-grin.gif

Bye for now,

Richard

I think Richard has hit the nail on the head there. However, I see where Portia is coming from too. Hayley has never sung an aria in the true operatic style because she simply cannot and I think she would be the first to admit that. And I think I'm right in saying that Dame Malvina has advised her not to try for the time being.

At the same time though, I firmly believe that any artist should be given the freedom to sing any type of music in any style of his or her choice - not necessarily the same style that it was originally intended to be sung. That freedom allows the performer to interpret the song in a unique way. An aria made to sound like a pop song will not be appreciated by the purists but it will attract a huge audience nonetheless, provided it is done well. And nobody could do that better than Hayley.

Roger

[stephch]

I would like Hayley to do more celtic stuff .

[roger]

stephch said:

I would like Hayley to do more celtic stuff .

Yay, that would suit me just fine!

Roger

[Natasha]

I think Hayley is good at every genre she has tried. I've loved most of them, except the jazzy one she tried a while back, lol, but she still did well at it and I liked it.

As Steven and others have said said big operatic pieces are probaly out of Hayley's reach right now but I don't think theirs anything wrong with her trying some out like, "O Mio Babbino Caro." Then she can see which suit her voice and which don't.

Hayley isn't a Kiri te Kanawa or Kathleen Battle but she's a amazingly, wonderful classical singer!!

[Oksana]

What really sets Hayley apart is her lack of vibrato. When I heard her do In Trutina (one of my favourite songs) I was amazed at how pristine and clear her notes were. Listen to the clip of Quanta Qualia. She uses very, very little vibrato. Now imagine if each of those beautiful notes quivered like a leaf in the wind.

I love her refreshing, new way of singing classical, and I'd like to hear much more of it. I'm particularly interested in how she'd do 'O Mio Babbino...' (a song that most people sing with a LOT of vibrato). As of now, I haven't heard many purists complaining about Hayley. There was much more controversy about Charlotte Chruch's "correct" way of singing than about Hayley's "different" style.

[Oksana]

classicgrace said:

I think Hayley is good at every genre she has tried. I've loved most of them, except the jazzy one she tried a while back, lol, but she still did well at it and I liked it.

Hayley did jazz? When? Where? (I love jazz.)

[HWI]

As far as I know, Hayley has never done anything jazz. She did sing Chattanooga Choo Choo at the VE Day celebrations in London. This is not jazz, it's Swing.

And boy, can she swing.

Keith.

[fusilier23]

I see we have only a slight disagreement, maybe not even a real disagreement. Dame Malvina has apparently said to Hayley that it isn't time to attempt arias yet, and I think waaaay back in the beginning Hayley said something to the effect that she'd wait till she was about 25 before she started "belting out arias." (her words not mine)

Like my other colleagues here, I think what attracted me to Hayley was her crystalline sound, though it is a fact of biology that it won't always be that way. She's got a ways to go before she finished developing, considering Katherine Jenkins, at 25, considers herself to still be developing.

I think broadening the repertory is the way to go, at least for now. Part of Hayley's appeal is that she usually has something for everyone. I can think of a number of Judy Collins songs she could do equally as well as "Both Sides Now," as well as a number of spirituals and Celtic songs that would all sound great in her voice. There are also lots of Broadway songs she could do very well. But, an album only has room for 16 or so tracks, and it is best to maintain the balance, while leaving room for the original stuff, for I'm sure Hayley, like many artists, would like to be remembered for a song that was hers and hers only, her masterpiece, as it were, that set her apart from all the other journeyman singers.

Anyhu, this thread's about the album, and I'll be glad to post my own review at the appropriate time.

[Richard]

Hello folks!

I'm still on Cloud 9 this morning, because yesterday I bought a copy of the Australian version of "Odyssey" in HMV, 362 Oxford Street, London W1, and I listened to it twice last night.

This is definitely the most beautiful album that I've ever heard, better even than "Pure", but the mix of styles makes it very hard to categorise. However, Hayley is now such a versatile singer that it really shouldn't matter.

The first track is "Prayer", which I would describe as a haunting gospel lullaby. Hayley's amazing voice comes straight in at the beginning, and she sings with great feeling. This is followed by "Never Saw Blue", a gentle ballad, which again shows the expressiveness in Hayley's singing. The third track is a duet with Andrea Bocelli, "Dell'Amore Non Si Sa". I wouldn't say Andrea is one of my favourite singers, but his voice blends well with Hayley's.

Next comes the first of three classical tracks, Caccini's "Ave Maria", which I heard Hayley sing live at Classicalive, Olympia back in March this year. Hayley's classical voice is growing stronger, and she really sings this song beautifully. Next comes "Both Sides Now", and this version is very similar to the one on Hayley's live DVD. This is followed by another gentle ballad, "What You Never Know (Won't Hurt You)", co-written by Hayley, and her soft voice nearly sent me into a trance.

The next song is a Celtic ballad, "May It Be", written by Enya. This really suits Hayley's voice, and is certainly one of the highlights on the album, as it was on the DVD. This is followed by a modern classical piece, "Quanta Qualia", which features Hayley's soaring vocals accompanied by a choir. This track has to be heard to be believed! Then comes a truly amazing piece, "Bachianas Brasileiras No.5 Aria (Cantilena)". This has no words, but Hayley uses her voice as a musical instrument, and she hits some incredible high notes with ease and clearly shows off her perfect pitch.

The next track is "She Moved Through The Fair", with a very dramatic Celtic arrangement complete with bagpipes. This song is likely to be omitted from the UK version of "Odyssey", so it's worth buying the Australian version for this one song. Next comes a gospel song, "I Say Grace", which features a gospel choir and a piano accompaniment. The last track is the poppiest song on the album, "My Heart Belongs To You", and this is a straight-forward love song.

The whole album is absolutely superb, and Hayley's voice is stunningly beautiful throughout. It is certainly getting richer and more distinctive as she gets older, and her musical taste is also getting wider. I can't pick a favourite track from the album because I love them all. Thank you Hayley for yet another wonderful album! i.postimg.cc/9fYxy370/smilie-big-grin.gif

I must also congratulate Giles Martin for his excellent production, and also thank Hayley's manager Steve Abbott for his part in the production and mixing of the album.

Now I'm looking forward to the UK version of "Odyssey" next month.

Bye for now,

Richard