Post by postscript on Mar 23, 2009 14:48:22 GMT
Hi everyone.
We seem to be in a quiet period, which statement might be a good way of suddenly opening the flood gates! In our diverse discussions, the subjectivity of the listener has often featured. Despite this, there is clearly a common denominator in which many share the same receptive qualities. How else can one account for Gi-normous sales from 'nothing'.
Here, I am obviously thinking of the latest example in Faryl Smith. One cannot but think of her most obvious predecessor, Charlotte Church. As I type this I am listening for the first time for perhaps two years to Charlotte Church's 'Voice of an Angel'. I relive my excitement at first hearing her. I come to reviewing her by a rather odd route, via Katherine Jenkins.
I don't know how I have managed 'not to notice' KJ other than due to my own preoccupations which meant I did not 'tune in' to 'her being' at the time and since then she has acquired the stature of a fixture on the classical scene while I have been occupied elsewhere. What is that quality of voice that causes me to currently latch onto Faryl? Her initial sales cannot be based on hearing her but surely are based on the 'hype'? I put that in quotes as it hasn't been so much artifice as statements of the simple fact she is so young and has attracted so much attention by those who might be judged to know what they are talking about. Subsequent sales supporting the initial rush may well be due to the further exposure that causes people to buy her for the voice they are beginning to hear for themselves.
Charlotte Church created the present phenomenon of the 'child performer' but it is a concept that is old, going back beyond Shirley Temple. Arguably each age in 'modern times' has created its own 'idol' on which to be fascinated. Listening to Charlotte's CD now I hear failings in it which I did not previously notice. Such things where perhaps she is pushing herself too far, or her childishness comes through which previously I did not notice.
A contribution to this criticism comes from hearing more from others since. The most obvious is that moment I first heard Hayley sing Pokarekara Ana. I was on the M1 and had no means of noting what I heard. I had to search the internet to pin her down but I knew in that moment I had to know who the girl was singing.
Let me, therefore dwell for a moment on Hayley. This is a unique voice that is clearly developing, strengthening but most importantly of all, especially hearing Charlotte's 'Danny Boy' has been delivered with more astute instrumental arrangements. I suspect this has a lot to do with Hayley. Certainly for 'Pure' she was that much older but already 'putting her foot down' to have her way of doing things. The extent to which Faryl has been guided or been pro-active is unknown but there is no doubt that her arrangers have done an excellent job.
How this musing I am sharing came about (while, hopefully not boring you all) was my thinking of what I wrote in my adulation of Faryl's first CD. There is no doubt that part of that appreciation is that such a sound is emerging from so young a person. It is the experience of hearing Hayley regularly over several years that excites me as to where this new voice might go but analysing my thinking I see Faryl's voice in the 'easy listening' genre where she is without doubt going to earn her money. Where else?
Likewise with Hayley. It is like comparing a B flat with an E flat clarinet. Hayley's voice is unique, delightfully bell-like with crystal clarity. It is an instrument to be pushed to see what it can do. This she is doing, especially in her work with Debbie Wiseman and Horner, using her voice 'simply' as a musical instrument. This is 'specialist' stuff. How does it attract wide-spread appeal?
I came to all this positing finding myself on the KJ official web site. A relative of mine is as sold on Katherine as I am on Hayley, while I have hardly paid Katherine any heed. The web site automatically runs a wide range of Katherine's music. She is of course almost as mature as her voice is likely to get before settling to what hopefully will see her through for the remainder of her career. With Katherine I immediately notice the rather 'plummy' voice trained for opera. I think this is where she has been gradually going before publicly saying so. That is fine if you enjoy opera (I do) and is quite adequate for 'normal' singing. I hope the 'training/advice' Faryl will receive will not incline her that way. This is the strength of Hayley but also her disadvantage. Her voice is totally 'natural' letting it be what it will be. So was Charlotte's at this stage I am now hearing her, her second(?) CD, 'Charlotte Church'. If both girls were running parallel, I wonder if Faryl would get a look in. There is a quality in Charlotte's voice at this stage which makes it unique in itself, just as Hayley's tonal values are unique to her. It is these qualities that appeal.
So, with Charlotte now 'out of the running' we have Katherine, Hayley and Faryl. What chance of a look in for anyone else and where are these three going to go to hold an audience? Could we have 'three sopranos'?
Somehow I would place Faryl in 'mid-stream', it is a voice for all genres. Katherine sits comfortably with opera. Hayley uniquely herself but able to hold her own with both.
So, what exactly is in a voice?
Peter S.
We seem to be in a quiet period, which statement might be a good way of suddenly opening the flood gates! In our diverse discussions, the subjectivity of the listener has often featured. Despite this, there is clearly a common denominator in which many share the same receptive qualities. How else can one account for Gi-normous sales from 'nothing'.
Here, I am obviously thinking of the latest example in Faryl Smith. One cannot but think of her most obvious predecessor, Charlotte Church. As I type this I am listening for the first time for perhaps two years to Charlotte Church's 'Voice of an Angel'. I relive my excitement at first hearing her. I come to reviewing her by a rather odd route, via Katherine Jenkins.
I don't know how I have managed 'not to notice' KJ other than due to my own preoccupations which meant I did not 'tune in' to 'her being' at the time and since then she has acquired the stature of a fixture on the classical scene while I have been occupied elsewhere. What is that quality of voice that causes me to currently latch onto Faryl? Her initial sales cannot be based on hearing her but surely are based on the 'hype'? I put that in quotes as it hasn't been so much artifice as statements of the simple fact she is so young and has attracted so much attention by those who might be judged to know what they are talking about. Subsequent sales supporting the initial rush may well be due to the further exposure that causes people to buy her for the voice they are beginning to hear for themselves.
Charlotte Church created the present phenomenon of the 'child performer' but it is a concept that is old, going back beyond Shirley Temple. Arguably each age in 'modern times' has created its own 'idol' on which to be fascinated. Listening to Charlotte's CD now I hear failings in it which I did not previously notice. Such things where perhaps she is pushing herself too far, or her childishness comes through which previously I did not notice.
A contribution to this criticism comes from hearing more from others since. The most obvious is that moment I first heard Hayley sing Pokarekara Ana. I was on the M1 and had no means of noting what I heard. I had to search the internet to pin her down but I knew in that moment I had to know who the girl was singing.
Let me, therefore dwell for a moment on Hayley. This is a unique voice that is clearly developing, strengthening but most importantly of all, especially hearing Charlotte's 'Danny Boy' has been delivered with more astute instrumental arrangements. I suspect this has a lot to do with Hayley. Certainly for 'Pure' she was that much older but already 'putting her foot down' to have her way of doing things. The extent to which Faryl has been guided or been pro-active is unknown but there is no doubt that her arrangers have done an excellent job.
How this musing I am sharing came about (while, hopefully not boring you all) was my thinking of what I wrote in my adulation of Faryl's first CD. There is no doubt that part of that appreciation is that such a sound is emerging from so young a person. It is the experience of hearing Hayley regularly over several years that excites me as to where this new voice might go but analysing my thinking I see Faryl's voice in the 'easy listening' genre where she is without doubt going to earn her money. Where else?
Likewise with Hayley. It is like comparing a B flat with an E flat clarinet. Hayley's voice is unique, delightfully bell-like with crystal clarity. It is an instrument to be pushed to see what it can do. This she is doing, especially in her work with Debbie Wiseman and Horner, using her voice 'simply' as a musical instrument. This is 'specialist' stuff. How does it attract wide-spread appeal?
I came to all this positing finding myself on the KJ official web site. A relative of mine is as sold on Katherine as I am on Hayley, while I have hardly paid Katherine any heed. The web site automatically runs a wide range of Katherine's music. She is of course almost as mature as her voice is likely to get before settling to what hopefully will see her through for the remainder of her career. With Katherine I immediately notice the rather 'plummy' voice trained for opera. I think this is where she has been gradually going before publicly saying so. That is fine if you enjoy opera (I do) and is quite adequate for 'normal' singing. I hope the 'training/advice' Faryl will receive will not incline her that way. This is the strength of Hayley but also her disadvantage. Her voice is totally 'natural' letting it be what it will be. So was Charlotte's at this stage I am now hearing her, her second(?) CD, 'Charlotte Church'. If both girls were running parallel, I wonder if Faryl would get a look in. There is a quality in Charlotte's voice at this stage which makes it unique in itself, just as Hayley's tonal values are unique to her. It is these qualities that appeal.
So, with Charlotte now 'out of the running' we have Katherine, Hayley and Faryl. What chance of a look in for anyone else and where are these three going to go to hold an audience? Could we have 'three sopranos'?
Somehow I would place Faryl in 'mid-stream', it is a voice for all genres. Katherine sits comfortably with opera. Hayley uniquely herself but able to hold her own with both.
So, what exactly is in a voice?
Peter S.
