Not So Abstract

Classical-crossover soprano, Sarah Brightman, not only soars several octaves with ease, offering a kindling and non-conformist take on opera and classical music, but she also offers her theatrical and pop-affinity to modern as well as classical music. While her musical style has brought in adorers from other genres — some who never thought they would like musicals, opera or classical music — there are genre purists who discount her as an opera or classical music artist. So, if you are a classical and opera music purist, too bad, deal with it. Brightman never really said she was a opera/classical singer anyway.

Her Sunday night show at the Air Canada Centre brought fans of her music, as well as those who just appreciate a creativity-infused concert, with a powerful, yet ethereal voice to match. I was first drawn to Brightman, now in her late-40s, with her Time to Say Goodbye release, back in 1997 — a mix of operatic, classical and crossover tunes. This was after hearing her hauntingly romantic duet, Con te Partiro, (Time to Say Goodbye) with Andrea Bocelli.

It was then I realized that she was the first Christine in Andrew Lloyd Webber’s The Phantom of the Opera. Webber had Brightman in mind when he wrote for that character. She’s the one and only Christine in my books anyway — the only one who can answer Phantom’s demand, “sing, my angel of music!,” with dualities of vulnerability and power, innocence and strength.

While Brightman has chiseled her music style past the Webber era, she still holds that repertoire close, since she cannot completely admonish her roots in musicals. My favourite CD would have to be Eden, which followed the 1997 release, and Classics. But, every Brightman CD has been a new adventure, for herself and her fans, such as La Luna, Harem and Symphony.

Now, back to her show — well, it was sublime and breathtaking. She definitely knows how to engage people with her creativity and singing prowess. She performed songs from her various albums, and had a handful of duets with other artists, such as Spanish classical singer Fernando Lima and Greek tenor Mario Frangoulis — both incredibly talented and powerful.

I always get a cathartic shiver when Brightman gracefully and powerfully delivers her high-octave notes , or when she surrenders to her dark side with a chilling yet pure take on a musical score. It’s been a while since I’ve listened to her music, but after last evening, I was enraptured yet again and fell under the Brightman spell.