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Pop
Music Italian tenor is a Classic
By ROBIN TAYLOR
Ive always wanted to be a
classical music person. Devotees always seem so refined, genteel, poised. They
get their own rooms at the music super-stores while the rest of us have to wade
through aisles of rap, pop and country in search of our music of choice. I like
to picture myself dressed in black, sitting at a symphony concert, eyes closed,
fading into the music. Or in my living room, surrounded by candlelight, lost in
the rapturous melodies of the giants.
The reality: I am not a classical music person. Its not that
I havent tried. I took a music appreciation class in college. Ive
tuned my kitchen and car radios exclusively to National Public Radio so that
after Morning Edition Id enjoy a lush orchestral background
as I washed the dishes or drove to work. Eventually, though, the radio always
ended up on the local pop station again. Songs I could sing along to. Songs
with words I understood. No matter how I longed to become a passionate fan of
classical music, in the end, it always seemed boring.
I had resigned myself to this fate, until now. Hope comes in the
form of a blind Italian singer named Andrea Bocelli. In the world of pop music,
where artists like the tiny-tummied Christina Aguilera and the studly
Backstreet Boys reign, 41-year-old Bocelli at first doesnt seem to
belong. He wears the same outfit in each of the liner note photos for his
latest album, Sacred Arias. He doesnt include endless pages
of thank-yous there. He doesnt really thank anyone at all, except for
Myung-Whun Chung, the director of the orchestra that accompanies him. In his
live performances, Bocelli fails to gyrate, flirt, or dance like a madman.
All he does is sing. There is nothing between him and his music.
It is a single-mindedness that is rare today, one that turns his songs into
prayer.
Apparently, Im not the only pop music fan who appreciates
Bocellis work. He received his first Grammy nomination last year for
Best New Artist, along with the Dixie Chicks, Backstreet Boys and
Lauryn Hill, unlikely peers all. This year, he received two Grammy nominations
- one for Best Male Pop Vocal Performance, where he joined fellow
nominees Ricky Martin and Lou Bega, the other for a duet with pop music diva
Celine Dion. His sixth album, the 1999 Sogno, has gone double
platinum, while Sacred Arias topped out at No. 22 on the Billboard
Album chart.
Along with all this, Bocelli was recently featured on the Oprah
Winfrey show, where he sang his beautiful Con te Partiró
with a 55-piece orchestra. Winfrey said that his music makes her cry. From a
popular perspective, no higher praise could be bestowed on an artist.
Sacred Arias features three different versions of
Ave Maria and a host of other traditional songs including
Panis angelicus, Dominus Deus, and Sancta
Maria. There are melodies here by Verdi, Bach, Schubert, Handel and
Mozart. Bocelli said that making this recording was a dream come true for him,
that hes loved sacred arias since he was a child. These songs were
written to glorify and magnify the greatness of God, and are the
highest and most spiritual moments in music, Bocelli said.
It usually makes me bristle when somebody tells me that something
is sacred, especially something as traditional as this collection. It seems
presumptuous to think you could know. Jesus himself said that there will be
lots of surprises when things shake out at the end, that people who are sure of
their godliness will be wrong, and that some who thought they never had a
chance will be welcomed into the kingdom with open arms. Couldnt it be
the same with music? Maybe there are angels even now who are drawn to the songs
of Sarah McLachlan and U2. Dressed in leather and spandex, drums and guitars
ablaze, they fill the heavens with new songs of praise, exploring with
contemporary artists the depths and heights of love and loss.
This doesnt mean, though, that old songs cant be
sacred. Thats something that Bocelli helps me remember. When he sings
Sancta Maria, his tenor voice soars, taking my spirit with it.
There is a tenderness, a clarity and passion there. Its so good that it
probably makes those contemporary angels sit up and listen. And while initially
it seemed like overkill to have so many Ave Marias on one album, it
makes sense when you realize how different they are. The best is the
Bach/Gounod version. It takes itself less seriously than the slightly stuffy
Schubert song, which perhaps is the version most familiar to long-time fans of
the genre.
One of my least favorite songs on the album is Rossinis
Cuius animam. It starts with a minor prelude, the kind of music
that used to scare me when I was little. Its appropriate for the
songs theme, though, which is Marys pain at the crucifixion.
Her grieving heart, anguished and lamenting, was pierced by a
sword, Bocelli sings (in Latin, of course). Later, the song moves into a
marching kind of cadence. You cant fault Bocellis interpretation;
his voice caresses each note, transitioning from the minor to major sections
without a flinch. Its still too much for me, though, a vast, overwhelming
song that makes me want to cover my ears.
The album finishes with a sacred aria for today, Gloria a
te, Cristo Gesú, which the Vatican recently honored as the
official anthem of the Great Jubilee. Written by a Lourdes priest, it is a
rousing number, performed here by Bocelli with a choral accompaniment. The best
part is the songs beautiful Amen! Alleluia! sequence, words
of praise that somehow have managed to maintain their holiness in spite of
tremendous overuse through the years. In the right hands, alleluia,
amen is all you need to say, the beginning and end of all prayers.
From the start, I wanted to like this album. What kind of person
wouldnt admire Bocelli, after all? He seems so beautiful, radiant and
pure. It was easy to love Silent Night and Adeste
Fideles, old favorites made even more brilliant by Bocellis strong,
exquisite voice. Over time, after concentrated listening, other songs came
alive, too. Ive found myself humming them and think maybe theyve
become part of me.
In spite of my best efforts, though, I cant say that for the
whole collection. Pietá Signore is nearly seven minutes of
pure boredom. Wagners Der Engel is painful. (So much for
becoming a classical music person.)
This album is one Ill keep. Ill listen to it when
its cold outside, and the moon is bright. Ill draw the curtains,
light the candles, put my head back and wait. Ill search again for what
Bocelli sees in this music, the beauty that moves him to tears. Its
there, I know it. Ive seen flashes, caught the tail end of visions as
they swirled past. Bocelli sings a path that brings me closer still. Maybe
someday Ill get there.
Robin Taylor writes from Salt Lake City.
National Catholic Reporter, April 7,
2000
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