Let me open by saying I’ve always loved Renée Fleming. I’m also a fan of progressive/space/alternative rockers Muse. And I’m not one of those people who view “crossover” with a combination of derision and snide contempt.
And let’s talk about that “crossover” thing for a minute. At it’s best, crossover involves artists of one genre steeping themselves in the traditions, techniques and atmosphere of another, and then incorporating both in a work that sheds a new perspective on both artforms. Yo-Yo Ma’s Silk Road Project, for example, is an extraordinary amalgamation of over a dozen different cultures and Western classical music – “crossover” at its best.
Then we have Renée Fleming’s “Dark Hope”, a cover album which finds her interpreting the likes of Jefferson Airplane, Arcade Fire, Death Cab for Cutie and, yes, Muse.
The first thing you notice is that her trademark dulcet soprano has been lowered by several octaves, and she’s done a great deal to mute her operatic projection. I actually like the tone quality she achieves in that lower register.
I like the idea; I like what she does to transform her own style to suit the material. What I really object to is the production – I hesitate to call it “arrangement” or “instrumentation” because all the backing tracks sound like drum machine, midi chorus vocals and synthesizer strings.
You’d think that, given a voice like Flemings, this would be an opportunity for creative arrangements, perhaps giving a small nod to her operatic origins by mixing in orchestral instruments with a rhythm section and keyboards, or something. I mean, I would even be happy with just an actual drummer playing a kit and some backing vocals that were human-produced.
The effect of all this studio fakery is to make these songs sound like sterilized versions of themselves – it’s karaoke lite – which is truly unfortunate, given the quality of Flemings vocals. And, in the end, it does little to illuminate either the material or the performer.
“Dark Hope” dropped a while ago; the reason I bring it up now is that someone sent me a link to the video for the lead single, Muse’s “Endlessly”. I find that these visuals simply exacerbate the problems of the track; the music sounds hollow enough, but layered with all the artsy sepia-toned/NYC hipster/random scarf leitmotif/Cirque du Soleil extras mishmash, the song loses all vision and, ironically, voice (although I enjoyed the Matthew Modine walk-on at the end).
I want to reiterate; I don’t object to a hugely-respected operatic soprano covering alt-rock. I object to poor production which brings nothing to the material and forces Fleming’s voice to do all of the musical, stylistic and emotional heavy lifting, which defeats the purpose of a project such as this. But judge for yourself:
You’re right Sarah, this seems like several steps down from what one would expect from someone like Fleming.
Part of me is sorry to say this, but I am reminded for some reason of Shania Twain, and her jump from Country to Pop. I’m no expert on either but didn’t Twain at least have some elements of country in her ‘new’ pop music? As you observe, there seems to be very little, if any, operatic nods in this clip… really… the music, some I know, would call it ‘schlock’.
So… “What’s the point?” Trying to reach a new audience maybe, or expanding her repertoire… ok… but at risk of abandoning the audience she already has.
Oh my, that was painful, but I give her credit for branching out and trying something new.
gml4, I don’t think she needs to worry about abandoning her core audience – they’ll still flock to hear her sing opera/recitals, etc. As for expanding audiences, a curious alt rock aficionado might listen to a track out of curiosity, but would be immediately turned off by the subpar production value of it all.
I don’t mind artists expanding their repertoire, even if it takes them far afield. What I really object to is when it’s done poorly (and, again, I’m not saying that Fleming sounds bad – I rather like her “pop voice” – it’s just that everything that surrounds it sounds bad).
Max , I totally give her cred for branching out, and I think she (or her producers) chose a widely varied and, on the whole, musically sound set of songs (I’m an Arcade Fire fan as well, and who doesn’t love “Hallelujah”?). I just wish it didn’t sound like it was backed by karaoke tracks.
Speaking of “Hallelujah,” I think there needs to be a moratorium on people who aren’t Leonard Cohen singing that song. I mean, who hasn’t covered it at this point?
um… me?
Why did she do a pop album? Because she can sing in that genre and do it well maybe? I think of many other opera singers who have tried and failed miserably. And then there are the clueless pop singers who try opera and have idea that they miserably fail. As you point out, Fleming does sing well here. Actually going back to her college days in NY she sang in clubs so this is not something out of the blue for her.
The songs themselves are pretty much bubble gum for the ears. So why would such a talent use such banal material? I can’t imagine she needs the money. Exposure beyond her current demo? I guess. That a 50 year old woman can be “hot”? They can be and she is – but we already knew that.
Could it be just something as simple as “here is a project that will take a day of your time. We already sequenced the backing; just sing over it and here’s a zillion bucks?”
That would explain the canned production values at least.
I see no problem with her doing this though. I sincerely hope that it doesn’t become a habit to the point that her other work is neglected.
Anyone with an IQ exceeding .01 should avoid purchasing this pablum at all cost. Here is a good 3-minute argument on YouTube, in true alternative/indie spirit:
http://www.youtube.com/watch?v=lCfiU1uTY7o
It is this alt/indie spirit that Renee and company violated in favor of safe-for-suburban-mom-consumption. This product is nothing but pure FAKERY, a LIE. Avoid.