Russell Watson Albums (5)
What The Critics Say
With one of the longest-running careers in the classical-pop crossover market, Russell Watson returned in 2007 with a collection of songs he considered his favorites, and far from being a crossover album, That's Life was a very traditional MOR/easy listening set of songs, originally sung by the likes of Frank Sinatra ("That's Life," "Strangers in the Night," "You Make Me Feel So Young"), Matt Monro ("Born Free"), Tony Bennett ("I Left My Heart in San Francisco"), and Nat King Cole ("When I Fall in Love," "Let There Be Love," "Smile"). Watson gave every song its due respect, faithfully reproducing the sounds of the great singers, and recorded the album at the Capitol studios in Los Angeles. That's Life was made more poignant by the fact -- which was very well-known by the time of its release -- that the recording had been split in two, beginning in September 2006 and having to be put on hold while he flew back to London to have an operation on a brain tumor. Then he returned to Los Angeles to complete the record, having recovered, only to have a relapse later in 2007. So having made hit albums since 2000 with mixes of classical and pop repertoire (for example, on his debut album he followed La Donne e Mobile with "Bridge Over Troubled Water" and "Vienna"), his 2007 effort was filled with romantic love songs and standards. A nice, relaxing, pleasant album -- but these renditions lacked the personalities of the originals (Watson would really have to be something special to match them), and the songs came across as cabaret versions, even upmarket Las Vegas-style cabaret but still nothing special, and performed equally as well by hundreds of singers around the world. On the final track he was joined by soul singer Alexander O'Neal, but their voices simply did not mix, and one got the impression that the two singers had never even met. The backing musicians didn't help either, performing in a most routine way and giving the songs an even blander feel than otherwise was necessary. Still, Russell Watson has made of career of singing easy listening, easy-on-the-ear songs, and this album was a fine example of the genre. ~ Sharon Mawer, All Music Guide
What The Critics Say
Having enjoyed enormous success in Europe, where he was dubbed "The People's Tenor," Russell Watson soon found his career in jeopardy following the release 2002's Reprise. A growth was found on one of his vocal chords and he opted to have it removed, which is an especially frightening procedure for a vocalist -- just ask Julie Andrews. Fortunately, Watson's surgery was a success and Amore Musica is his first recording following an extended recovery. Any doubts that his voice was affected by the surgery are immediately put to rest on the opening song, "Amore e Musica," a grand pop/classical piece that allows Watson to exercise the range of his newly repaired tenor. If anything, he sounds more relaxed with a silkier tone that further embraces Amore Musica's classical crossover selections. While there are still a couple of true classical selections like an adaptation of Sir Edward Elgar's "Nimrod" entitled "We Will Stand Together," the focus is on material that will hook pop-minded adults who love a strong, romantic voice. And nothing screams louder for pop acceptance than "Pray for the Love," a new tune by mega-hit songwriter Diane Warren. Luckily, it is one of her better efforts and Watson delivers a perfect pop performance. But the song's inclusion seems like a calculated effort by Watson to obtain the massive U.S. audience that his North American counterpart, Josh Groban, has already lassoed. To further invite comparison, Watson has included one of Groban's hit songs, "You Raise Me Up," as if to say "here's my version, take your pick." Frankly, Groban's is the better choice, but that is not to say Watson can't acquire a similar following. Amore Musica may not be the disc that does this for him, since it lacks a standout signature track -- something that Groban has been blessed with twice. However, the disc is Watson's most consistent effort thus far. His choice to move further away from true classical pieces is a good decision as his tenor seems better suited to modern pieces like the inspirational "La Fiamma Sacra" or the alluring duet with Lara Fabian "The Alchemist," a theatrical song that sounds like a lost treasure from Broadway's Miss Saigon or Chess (get this man a show!). Sounding more confident than ever with a renewed voice and a new outlook, Russell Watson is moving in the right direction and Amore Musica is a welcome return. ~ Aaron Latham, All Music Guide
What The Critics Say
Although classical crossover artists are not unique, few are truly adept at handling the subtleties of pop music, as they simply bend their quasi-operatic voices to fit into the confines of a pop melody. It's a bit like watching a seven-foot basketball star exit his limo, and then fold his body into a little sports car -- he may be able to get into the auto, but it's not necessarily a comfortable fit. Russell Watson is the rare exception who is comfortable in both settings, as listening to him is like listening to two distinct people; there is the powerful tenor who can handle the rigorous demands of operatic solos, and there is the suave Europop singer who can deftly navigate the intricacies of a popular song. Unlike his contemporaries, Watson has the unique ability to actually change his voice in order to fit the style of music he is performing. An example of this morphing technique can be heard on the first two tracks of Reprise, his third solo disc. Opening with Cottrau's "Santa Lucia," Watson's well-supported tenor sounds like a younger, less-excitable Mario Lanza as he gives a warm reading to this Italian favorite. Then, as if a multi-CD player were set on shuffle mode, a breathy and slightly husky voice enters in on "Immenso Sogno," a European-style pop ballad that Watson sings in a hushed tone devoid of any classical technique. The difference is immediate and effective, and allows Watson to successfully live in two separate musical worlds that embrace his talents. However, there are drawbacks on each side of the fence. Although his tenor is getting stronger, he will most likely not be able to obtain the majestic richness and depth of a true master like Pavarotti, but that's just fine, as his capable work can still be admired and enjoyed. On the pop music side, Watson doesn't always select the best English-language songs to cover, as evidenced by the inclusion of Mike + the Mechanics' "The Living Years," in which the listless arrangement and repetitive structure simply do not mesh with the balance of the disc. In addition to that misstep, there is not much on Reprise that is different from its two predecessors, except for the fact that Watson's voice is improving. Basically, it adds up to a pleasant listen that will continue to charm audiences of both pop and classical music. ~ Aaron Latham, All Music Guide
What The Critics Say
The liner notes to the powerful tenor's overwhelmingly emotional debut begin with the assertion that "Russell Watson is a freak." Well, he looks like a normal 27-year-old from a working-class town in England, but what makes him "freaky" is having such an intensely powerful voice at such a young age (and his grip of operatic Italian is a bit unusual, too). Most likely, the promotional efforts -- which find the handsome singer looking like he's in a GQ ad -- will focus on getting this classic opera material to be heard and appreciated by a younger crowd. The concept here is "opera with a twist," a happy idea where "Nessun Dorma" and "Amor Ti Vieta" play comfortably alongside pop standards like Freddie Mercury's 1992 Olympic theme "Barcelona" (a rock-influenced duet with Shaun Ryder) and "Vienna," a number two hit for Ultravox in 1981. Compared to his effortless tackling of so much challenging material -- not to mention the beautiful swells by the Royal Philharmonic Orchestra -- a cover of "Bridge Over Troubled Water" comes across as a bit staid, but it's still a version that brings out as much emotion as possible. Other featured material includes "Nella Fantasia," "Ricordo Ancor" (from Captain Corelli's Mandolin), and duets with Maire Brennan and Cleopatra Higgins. Even if the thought of opera makes you cringe, Watson is still an amazing artist who might just convert you for an hour or so. ~ Jonathan Widran, All Music Guide
