Published on Nov 13, 2000
I hadn’t been catching up to the press releases so when Sarah
Brightman’s
La Luna dropped, I didn’t exactly know what to expect from
this indefinable artist… rock? Opera? Or rock opera?
Over the last couple of albums, however, Brightman’s sound has
been solidifying into a unique, if predictable, mix of
semi-classics and subtly crafted rock ballads.
La Luna shows that while she has lost some of her
experimental edge, there is still no one in the industry who is
quite like Brightman in terms of quality, production values and
dedication; this album bleeds professionalism you can actually
hear.
There are seventeen tracks in the non-European version (for a
complete list of differences between the European and non-European
versions, click ) that includes the hidden track “Moon River” and
the bonus track “First of May” from the
Christmas In Vienna series. The Europeans aren’t missing
much; “Moon River” is sung in a weak way (aiming for an effect that
eludes this reviewer) and while “First Of May” is lovely, it sounds
much better in context with the
Vienna album.
Opener “Winter In July” and the other uptempo “Here With Me” may
sound like watered down dance tracks but the beat is there for
ambience, not for the sake of there being a beat (correct me if I
err in my definition of dance music). They take some time getting
used to but after spin ten or so, they make their mark – for better
or worse – on that part of your brain that repeats catchy
tunes.
Immediately impressive is the intimate “He Doesn’t See Me” that
evolves from a beautifully sung bel canto melody line to full
orchestra with bag pipes and back again, epic as a rock ballad.
More synthesis of rock and classical balladeering in “A Whiter
Shade Of Pale” but an abrupt ending (an orchestra flourish) marks
the only conceptually weak spot on the album. Classical tracks
“Solo Con Te” and “Figlio Perduto” are typically gorgeous Brightman
with minimalist drumming and echo chambers. You’ve got your
dramatic diva-like finish in the title track, your flawlessly
produced instrumental tracks “La Lune” and “Serenade”, and all the
tracks flow perfectly from one to another in a holistic, almost
transcendental listening experience. It’s like Enya with more
singing.
Crossovers tend to be lame; a wimpy drum machine here, or some
afterthought strings in the background there (think Metallica and
the SFSO). Brightman shows how it’s done. It takes a comprehensive
knowledge of both sides, to have been trained professionally in
both areas, and yet the piece of music in question must be
approached in a personal way. The only regrettable thing is that
Brightman seems to be settling in; who knows, though, whether
she’ll surprise us again in the end. On the whole, she’s an
excellent singer with good instincts, and a solid album to prove
it.