Preaching to the choir

I don’t know Katherine Jenkins. I’ve never met Katherine Jenkins. I have no personal beef with her and I have no idea what she’s like.
These facts, these demonstrations of my personal disinterest (note the proper use of that word), and my own thirty years-plus of experience as a professional singer qualify me well I would think to give you my informed opinion that she is a pretty poor singer. Or to refine that a little: she’s a pretty, poor singer.
That’s alright. There are plenty about. I’m not about to claim that I on the other hand am a great singer, because my abilities are actually irrelevant. It’s my experience that is crucial here. I’m not writing about my singing, I’m writing about hers.

Not a fan of Dorothy

We went to see “The End Of The Rainbow” in Bath on Saturday. It’s a play with songs about Judy Garland’s final performances in London shortly before she died at the age of 47. It was a big hit in London, garnering huge plaudits for Tracie Bennett as Garland. I’m not about to write a review. I’m also decidedly not a Garland fan, but I could recognise that Bennett’s impersonation of her was impeccable and sensational, and she certainly ripped up the stage. She was extraordinary. And yet I found the whole experience curiously unpalatable, like watching a car crash in slow motion.

My Struggle

I just don’t fit in with the opera world and I often think I never will.
I make no bones about it, compared to most opera singers, my roots are in the wrong class. My parents had nothing to do with music. They didn’t play instruments and they certainly didn’t sing in any choral society. All my friends were far more interested in sport and girls than in classical music. My dad was into boats, my mum a simple housewife. My early childhood was spent listening to pop and, like everyone my age, I was a big fan of the Beatles. I was sent to a school which had a terrible reputation for music but which was strong on sport. I sang treble in the choir but I asked to leave after two years for fear of being beaten up. By now I was listening to Pink Floyd and Yes and if asked what I was going to do when I left school, some sort of office job seemed to be expected answer.

The naked truth

If there’s one thing for which I am eternally grateful it is that I have never had to take my kit off on stage, which is quite remarkable given that I worked with Opera Factory back in its heyday. If that means nothing to you, suffice it to say that nudity in their shows used to be pretty-well de rigeur. You would have thought that the piece I did, “Mahagonny Songspiel”, populated as it was with lumberjacks and tarts, would be an obvious choice for a bit of exposed flesh but it was not to be. Given the other two pieces in the triple bill had loads of dangly bits on view, perhaps it would have been too much to finish the evening with yet another dose of pink, wobbly flesh.