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Post by nicola on Jul 26, 2009 22:42:22 GMT
As some of you know, I am launching a new website soon www.classical-crossover.co.uk (nearly ready!) I am writng a 'About Classical Crossover' section. There will be seperate articles for each topic, but I have just written an article 'What is Classical Crossver?' and a list of its conventions. Although I am pretty confident with it, I suppose, it would be foolish to write an article that appears to be so authoritive when in fact, it's all just because 'I say so'. Was wondering if anything was missing, or if you think anything is grossly misrepresented. None of the article is criticism to the genre, it's is just trying to say it as it is.What is Classical Crossover?If anyone wants to further discuss it as a genre, I would no doubt find that helpful.  x x P.S. can I apologise in advance for any typos in the article. It's late, I will go over it in the morning! |
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Post by chantelle on Jul 27, 2009 3:31:30 GMT
Hi Nicola!
I can be as big a critic of the various fallacies of "classical crossover" and its seemingly contradictory definitions as anybody-- but I couldn't find a single fault with your description! It addressed issues from both sides-- the "mass appeal" element of classical crossover, as well as the reserves from the more strict classical side. Thumbs up! I've been enjoying watching your "mock-up" site develop.
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Post by Jenny A on Jul 27, 2009 4:28:01 GMT
In my opinion it's very well done.
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Post by nicola on Jul 27, 2009 6:25:51 GMT
Wow, thanks guys!
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Post by Ross on Jul 27, 2009 6:33:16 GMT
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Post by Nordly on Jul 28, 2009 0:42:37 GMT
Hi Nicola,
VERY hard subject to write on, if you ask me! You've done a great job; I think the key to writing something like that is having a strong opinion like you do, and knowing the facts.
My only suggestion is that you add more examples in your musical conventions section, and I would love to read your opinion on talent show artists, both on specific artists and that method of finding classically related talent.
~NL
PS I'm looking forward to Classical-Crossover.co.uk
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Post by nicola on Jul 28, 2009 7:36:25 GMT
Thank you! I don't where I would fit in the the opinion of talent show artists. But the talent show buzz is not only effecting classical crossover, though any slightly classical artist that comes on these shows automatically get to make a record, whilst this is not true of normal pop singers. I am all up for new talent being discovered, but the mechanics behind it all does annoy me a little. For example, Hayley broke the record for fastest selling female classical debut album of all time in the UK without the push of Mother's Day or Christmas, and without the publicity of the most popular TV show in Britian. Through hard work, and her own credentials, in other words. Then Faryl Smith comes along, sings Amazing Grace, on BGT, releases her album for Mother's Day, and she destroys Hayley's record with relative ease. To me, there is something off about that. Is she better than Hayley? Was her album better than Hayley's? No, on both counts. Because BGT is a popular show, the general public are awed by classical singers, not recognising that the singers on there are not particularly special for their field. This was an is true of Paul Potts, in my opinion. The only artist I am pleased to have come out of those shows is Jonathan Ansell. None of the others seem particularly special to me. What about you? I know when Paul Potts won, I was very much alone with my opinion. But I am used to that!  |
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Dave
Administrator
HWI Admin
Posts: 7,700
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Post by Dave on Jul 28, 2009 12:14:32 GMT
The only artist I am pleased to have come out of those shows is Jonathan Ansell... I was very much alone with my opinion. But I am used to that! Hi Nicola, You were not alone!  By the way, if I remember correctly, Hayley's 'Pure' was at the time the fastest selling classical debut album in the UK, not just by a female. That record was broken a few times though, before Faryl came along to break them all (the "female" one was the last of Hayley's to go). Yes, with the help of a hugely popular talent show - which must have saved the record company a lot of money compared to Hayley.... though we must remember that Faryl did nowhere near as well as Pure. On the subject of classical crossover in general, I now tend to see it as a temporary phenomenon, at least when it is viewed as a separate genre. The problem for many singers - such as Hayley - is that the media and masses pick up on the "classical" bit and that is translated into "opera" with all its attendant baggage. It ends up as being too restrictive for some singers such as Hayley, the repertoire is limited and I don't think they like that kind of pigeonholing. I see signs that the peak of the " classical crossover" boom has passed in the UK, certainly in terms of total record sales... and of course, in NZ the "classical" bit was never really an issue anyway, because it never did qualify for their classical chart and that aspect didn't have to be pushed. Simon Cowell (like it or not!) was the first to realise that the classical charts were not essential to the success of "classical crossover" singers and none of his acts (those signed to his record company i.e. not Faryl), I think, were limited by the UK classical chart thing. That immediately broadened the available repertoire. Many of Hayley's restrictions came out of the way the UK charts are constructed and Decca's decision to push the 'classical', which led to the manipulation of Hayley's album tracklistings in a way that, I suspect, was not wholly satisfying to her. It is not surprising that she now wants to break free from that, as she has done already in Japan and I hope and think her first non-classical album in the UK, whenever it comes, will do at least as well as her most recent "classical" one. A Christmas Album in the UK may or may not qualify as "classical" but either way, I think it's an excellent way to make the transition to easy listening pop, if that is what happens. Classical Crossover? I just wish they would find a better name for it as it leads to so many misunderstandings and, in Hayley's case, limitations. Cheers, Dave |
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Post by nicola on Jul 28, 2009 13:23:24 GMT
I agree that CC is such a horrible term. It is quite accurate, but to me, it's simply a descriptive, but it's the name that has taken hold. It also confuses people as they seem to take 'crossover' literally. Only a few days ago someone complained that I hadn't included Lesley Garrett on my website and that she deserves to be on there, and I responded with an elaborate but resounding "no". I had to explain why, which is the reason for my articles explaining both what it is, and what is meant by the term.
I really like the term 'Classical Pop'. It's simple, and it is what it says it is. I didn't come across its usage until three weeks ago on CDBaby.com. It's a website that releases independent albums, and it's ordered by genre. When I saw the term 'Classical Pop', I knew exactly what to expect. That's how I found Grace Bawden.
Whilst I do agree that positioning yourself as a CC artist can be limiting, I don't think the genre in itself is limiting. In fact, the opportunites are endless. The only problem is very few companies are willing to branch out. As you pointed out with the Simon Cowell situation, things have improved, and I think we can expect some more growth and expansion away from the stagnating track lists that consist of dull standards.
I think the way it is going, we have to rely on the mega selling artists to take the risks that sell regardless; to light a beacon and branch out (Andrea, Josh, Vanessa, Sarah), and then the record companies will safely follow suit once they know that it works. It's the same with any progressing genre, and I think it has quite a life span in front of it, and it will eventually appeal to the younger audiences rather than just people that have reached retirement age.
I have been following this genre since it first started, and it really has made a lot of progress. There's no reason to believe that it will stop moving. What the genre really needs is a more varied selection of super selling artists. I think Hayley has great potential to reach this status once she lets go of the UK Classical Charts.
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