Katherine the Great!
A Review of Katherine Jenkins at Venue Cymru, Llandudno
I think I have worn out miscellaneous family members and my diminishing circle of friends with my interminable raving about how good Katherine Jenkins was at the Venue Cymru, Llandudno, November 17th 2021. So I shall take to writing my ‘swept away’ experience that evening and state the plain truth once and for all in an effort to move on – Katherine Jenkins was magnificent at the Venue Cymru, Llandudno, putting on the best show I’ve seen this century. It was the first time I had seen her, and the first of many more times to come, I hope.
Katherine Jenkins knows the source of her appeal and knows how to satisfy the expectations people have of her. It’s comfortable and comforting, uplifting and reassuring. And why not, in a troubled, divided world? Good on her, I say! It’s the kind of thing that puts a smile on your face and sends you home feeling warm and happy.
I shall now put the adulation to one side and make an effort to write a proper review. Katherine Jenkins delivered a jaw-dropping, show-stopping performance at the Venue Cymru, Llandudno, November 17th 2021, wowing the audience with songs from her latest album Cinema Paradiso, an album which features popular songs from the movies as well as personal favourites. She also performed a number of old favourites. The singer, who must by now be the unofficial Queen of Wales (how many #1 albums does she now have?), performed two stunning sets to a packed and highly appreciative audience.
(Whilst that may seem to be fairly adulatory, I swear it is an objective assessment of a great show).
The show at the Venue Cymru November 17th was the second date of the winter tour, rescheduled from earlier in the year due to COVID-19. Like the first night at Southend, the show at Llandudno was a sell-out concert. And it was very much a glorious return to live theatre performance for Katherine – and the rest of us - after Lockdown.
With live shows cancelled due to the Covid pandemic, Katherine performed live online concerts every couple of weeks or so throughout 2020 and into 2021, doing much to keep people’s spirits high under the stresses and strains of lockdown. These free online concerts were hugely entertaining and heart-warming, keeping people’s spirits high and fostering a much needed sense of joy and solidarity in times of stress and separation. The free online concerts also kept Katherine in touch and in good vocal shape.
Katherine’s return to live performance was a much anticipated event and, waiting for the doors to be opened, it was evident to me how much people were looking forward to the occasion. I have slight admission to make here. I don’t know whether it was down to my eagerness or my usual cluelessness, but I made my way into the auditorium before doors were officially opened. I was in the process of being requested to leave when it was announced over the PA that doors were now open! I was first in! Officially and unofficially.
I didn’t quite know what to expect on the night. I’ve seen concerts by Ray Charles, Chuck Berry, Little Richard, Jerry Lee Lewis, Echo and the Bunnymen … that kind of thing. This was not my usual evening’s entertainment. I was, however, well aware of Katherine Jenkins’ talents, since she is such a familiar figure on TV and radio. She always impressed on TV, singing at many a big occasion. I have happy memories of watching and listening with my dad, who always appreciated a good voice and a good tune. Anyhow, I was impressed enough to have acquired a number of her cds over the years, so when the opportunity to see her came my way – having recently moved to Llandudno - I thought ‘why not?’ Although I expected a decent night out, I have to say that I was hugely impressed with the show that Katherine Jenkins put on in Llandudno. In fact, I was set on my way to being bowled over within a couple of minutes of her enchanting entrance. She was in magnificent voice throughout. And since these were songs I knew and loved, it was impossible for me not to be swept away. (I have since obtained every cd Katherine Jenkins has).
And what a show it was! This was a ‘real’ and ‘proper’ show, a true spectacular in sound and vision. And it was something more, even, than that. To address a public as a community and unite disparate individuals in a moving communal experience is a noble aim in this divided age, and no little achievement when it is realized. It takes a special talent to be able to do it, and Katherine Jenkins is something who both the aspiration and the ability.
This was a night of marvel and wonder.
Virtuoso violinist and rising star Esther Abrami opened proceedings with a marvellous set, with superlative performances of classics like Ave Maria, giving new twists to old favourites, and performing new favourites. There are many ‘girl with violin’ acts out there, so it takes something special to stand out. Esther stood out, adding something a little bit different, something that is uniquely hers. Her debut album is released February 4th, 2022 on Sony, entitled ‘Esther Abrami,’ and I’m pleased to see that it is doing well on pre-orders.
There was an intermission and then the moment we’d all been waiting for. Katherine opened the show with ‘When You Wish Upon a Star.’ The song and its performance set the magical tone for the evening. Katherine sang the first verse unseen, off stage, building anticipation, before emerging centre stage, floating down lighted steps, shining bright as she sang. Singing unobserved before making her entrance served to train the eyes upon stage in anticipation of her appearance. And she sang most magnificently. The effect was utterly enchanting in sound and vision, transporting you effortlessly into another world.
I’m far from being expert on dresses, but it was impossible not to be struck by the colourful and stylish sky blue ball gown she wore, billowing and cinched in at the waist to highlight the singer’s curvaceous figure. I had to look up that description, being somewhat inexpert in such matters. But even I could see that this was a ‘very nice dress’ (as I rather inexpertly put it). She wore a red dress in the second set, both designed by Suzanne Neville, Katherine’s go-to label. (I read, in my efforts to increase my knowledge of the unknown). The only ‘go to’ label I have is ‘gone to the dogs.’ I’m a big fan of Elvis and Freddie Mercury and Queen, though, so I do like a little show and spectacle, and a lot of flair and panache when it comes to costumes. On these, Katherine delivered handsomely, with suitable taste and decorum. I noted how graceful and elegant she was moving around in those dresses. It was a full-on assault on the senses, captivating ears and eyes. The entire show showed evidence of care, planning, and attention to detail with respect to what is likely to move the audience and send them home happy.
Katherine proceeded to put on an equally dazzling show, punctuated by one show-stopping number and set-piece after another.
The next track up was ‘Merry Christmas Mr. Lawrence.’ Katherine paid tribute to Ryuichi Sakamoto, composer of the instrumental version, before singing the lyric version ‘Somewhere Far Away.’ That’s pretty much the place we were being transported to. I did think to make the effort to remember the set list as each song was performed, but the fact is that my conscious thought processes, normally so efficient, were totally dissolved after the third song, ‘Se,’ lyric version of Ennio Morricone’s ‘Cinema Paradiso.’ I do remember that one favourite song after another followed in quick succession: ‘Moon River,’ ‘Danny Boy’ (unofficial national anthem of Ireland), ‘Singin in the Rain’ (unofficial national anthem of Wales), ‘Somewhere Over the Rainbow.’ There was nothing for it but to allow oneself to be absorbed in the warm feeling that was now engulfing the entire arena. Music is a sensuous experience, not a cerebral one. I stopped thinking and started enjoying.
It is no wonder that Katherine Jenkins is so popular. Not only do these songs resonate with so many people, she does them full justice with her impressive vocal ability. I have to add a special note here. ‘Cinema Paradiso,’ ‘Moon River,’ ‘Danny Boy,’ ‘Singin’ in the Rain,’ and ‘Somewhere Over the Rainbow’ are particular favourites of mine for very personal reasons. (And very probably everyone will have personal stories of their own attached to these songs). I love the music of Ennio Morricone. We would play him regularly back home and I used one of his tracks at my mother’s funeral service. The music is warm and romantic with a touch of melancholy. Cinema Paradiso is also among my favourite ten movies. My mother was also a huge admirer of Audrey Hepburn, who will be forever associated with the song ‘Moon River.’ It’s a huge favourite of mine and of many other people, of course. Movies and the songs associated with them are bound up with the events and happenings of people’s lives, and it’s no different in my case. In December 2016 I suffered a massive heart attack and spent Christmas in hospital. I was on my own on Christmas Day, alone with my memories, wondering what the future held in store for me. I was lucky to be alive. I watched TV. The movie Singing in the Rain was on, and the title song and its performance cheered me no end. It was like being visited by a cheery old friend (which was most welcome seeing as I had no visitors the entire day). Later on, I watched The Wizard of Oz. The song ‘Over the Rainbow’ restored hope. Then there is ‘Danny Boy.’ A few years ago, in an idle moment, I tried to draw a list of my favourite five songs. ‘Danny Boy’ made that list (as did ‘We’ll Gather Lilacs,’ which Katherine has also recorded in a very fine version (although I prefer her live performance of the song in one of her lockdown concerts, 16th January 2021). There’s no mystery behind the appeal of these songs and their performance. These songs are familiar and familial, bathed in the rosy glow of nostalgia for places and people past. It’s not illusion, it is warm memory, and Katherine Jenkins has the ability to channel it into the present, keeping the past and the memories of those we loved and who loved us in turn happily present. She not only sang all of these songs, she sang them magnificently, one after the other. The impact was irresistible. I had no chance.
Other songs in the first set were ‘Parla più piano’ (Speak Softly Love) from The Godfather and Leonard Bernstein’s ‘Somewhere,’ from West Side Story, a vocally demanding piece that enabled Katherine to show off her impressive range.
The show had been so packed with standout performances of favourite and familiar songs that I got it into my head that it must be drawing to a close. It had felt like a complete show, yet it was still early, about 8-15pm. I was somewhat exhausted already, and would have gone home satisfied and happy. I think that’s the feeling of being overwhelmed. As it happened, we had reached not the end but the interval. You mean there’s more?!
People went off to who knows where, as people do during the break. I was in something of a daze and so just sat quietly, in an attempt to regain control of my senses. My eyes and ears had been somewhat overloaded with good things. I needed to compose myself and brace myself for another full-on sensuous immersion.
Katherine came back for the second half wearing a sensational red gown, also designed by Suzanne Neville, billowing in a most attractive manner and featuring a glittering collar and belt. I noticed, too, as she sang, a hand and wrist that glittered, also the silver drop earrings. It was a sparking performance in every respect. She also introduced different kinds of songs, effectively treating us to two shows in one. The second set opened with the one and only aria of the night, ‘O Mio Babbino Caro’ by Puccini, which, as we know, Katherine sings very well indeed. She then returned to show and movie tunes, including a substantial James Bond Medley:
Writings on the Wall / We Have All the Time in the World / You Only Live Twice / Nobody Does It Better / Diamonds Are Forever / Skyfall.
It was an evening of escape and dreamscape. I think I passed out at one point. Beyond the swept away moment, I do distinctly remember getting teary eyed at certain points, so much so I seem to have blanked out the songs which elicited such an emotional reaction on my part. In other contexts, that would be a definition of trauma. As the mists cleared in time, I remembered it was her performance of the John Barry/Louis Armstrong song ‘We have all the time in the world’ that moved me to a state beyond conscious thought and memory. Louis Armstrong was my dad’s favourite artist, so I couldn’t help but have a little reminiscence during the performance of this song. It was another personal moment. Katherine Jenkins offers that kind of show, a show studded with personal memories and messages. This is music as a familial experience, a pact between past, present, and future generations, bringing one and all together as a community of like-minded folk united in a common experience. These are all songs that touch people at the deepest level of family, kinship, and connection. It was a sublime and most moving moment. I couldn’t help but express a quiet wish that my dad had been here to see it, resolving once and for all our little debates about the nature of Katherine Jenkins’ appeal.
There’s no mystery: she’s good. The humility that Katherine Jenkins expresses in interviews seem to be real. The shows are as much about the communal experience Katherine’s performances engender as they are about her, drawing people together as the one community, a community of friends and family. She works from the assumption, uncommon these days, that human beings are all kin in a community. And if we don’t necessarily feel that way to begin with, the shared experience of knowing, loving, and enjoying familiar songs will make us feel that way long before the end. That she has been able to operate on those old-fashioned assumptions in the increasingly rancorous years of the new century is a powerful testament to the remarkableness of Katherine Jenkins as person and artist, her performances confirming our commonality.
‘I guess I always wanted to be a Bond girl,’ she confessed. She knows how to play to crowd favourites. And she knows how to connect. Katherine was at her endearing best when heaping praise on all those who worked hard on the frontline during Covid, dedicating an emotional and heartfelt ‘Here’s to the Heroes’ to them. It serves as a reminder that it has been a torrid year and more, for artist and public alike. There was a palpable feeling of release and liberation in the air, as people celebrated being together again in joy, the first time in a long while for many. It felt good to be back in the theatre. My last time had been January 2019, which now feels like another age to me, with so many changes since – family bereavement, house moves, change of job, the end of the old life and the beginning of a new life. It was already a stressful time for me before Covid struck. It has been an appalling couple of years. Katherine expressed her own thoughts on the stresses and strains of the times, offering fulsome praise of key workers and their efforts during lockdown. I must admit, on a personal note, I couldn’t help but think of my own status as an ‘essential key worker’ in 2020 and 2021. Vain I may be, certainly in thinking the song just for me (that’s the nature of its appeal, tapping into the emotional and existential roots of human life), but it does feel good to have your efforts and talents recognized.
Katherine Jenkins has the ability to make it seem as if she is singing just to you, picking you out from among the crowd. She is a consummate performer and knows her craft; she knows how to reach into the audience and connect on a personal level. I watched and saw how she approached the audience from every angle that night. She has a very endearing personality, very warm and intimate. Clearly, she knows how to relate to people. She said how much she loves Llandudno, and that she has, of course, helped herself to the local delicacy of fish and chips. That had me wondering if she dared brave the seagulls on the front, pterodactyls as I call them. I wouldn’t recommend it: those guys take no prisoners (hostages maybe, but prisoners, no).
She did sound uncharacteristically nervous at the odd point in the concert, though, when telling the audience that she couldn’t tell whether people were enjoying themselves behind the obligatory masks. The audience roar soon confirmed that they were indeed having a good time, but her words made the point of how much we have been losing confidence as a result of losing personal contact with one another. If she was seeking reassurance, she needn’t have worried. From where I was sitting it was clear that she had the audience in the palm of her hands.
We came to the final songs.
‘Jealous of the Angels’ is another of those deeply personal songs which are bound up with the lives of all, concerning the passing of loved ones. It is an experience that comes to us all. Katherine Jenkins has the ability to take a universal theme and draw it down to the personal level. Unsurprisingly, the song is a favourite of many and never fails to move an audience. ‘Never Enough’ is a big, vocally demanding ballad, the kind of which Katherine handles well. My own favourite of all these types of songs, however, is ‘L’Amore Sei Tu,’ the Italian language version of Dolly Parton’s ‘I Will Always Love You.’ There have been many fine versions of this number, of course, but I think the Italian and the way that Katherine sings it brings out the song’s innate romanticism raising it to another level entirely. Katherine’s interpretation is powerful but also warm and subtle. It was yet another show-stopping performance in a night blessed with them. In fact, all these songs brought loud and enthusiastic applause from the audience.
Katherine ended with her signature song, ‘Time to Say Goodbye.’ She has this one off to a T. To her great credit, she still sings the song as if it were new, achieving that admirable quality of being familiar but fresh. Till next time.
You know how great a show is when it seems to contain everything you love, and yet flies by in a flash; the show that exhausts you and yet leaves you wanting more. Katherine was in outstanding voice the entire night. I have to admit that at times I feared she would crack or explode when she went for the big notes. I am more used to attending rock concerts where the singers, God bless their enthusiasm, pursue musical ambitions that far exceed their vocal abilities. I needn’t have worried: Katherine not only hit all the top notes she went for, she sustained them most impressively, showing that beyond being a superlative singer of popular songs, she has a voice of real weight and power. Add a fine repertoire of familiar numbers and a colourful, shining spectacle, and it all made for a magical evening.
The only other thing for me to comment on was how moving an experience the show actually was. Katherine not only goes for material that is uplifting but also sad and sentimental, bathing the audience in a warm glow of nostalgia for places and people past, as well as entertaining hopes for a future to come. She touches the human roots that move the world from deep within. I felt it and I dare say most others felt it too. That’s the appeal and its emotional charge is quite tangible.
It had been a packed two sets but there was still time for Katherine to deliver a mini-Christmas concert by way of an encore. (She had, of course, received a standing ovation). The encore was a pleasant surprise. Christmas is coming and it came early this night. The excuse was that we didn’t really have Christmas last year, so we are allowed to start early. She began the encore with the solemn ‘O Holy Night,’ which she performed wonderfully well, as we have seen and heard her do many times before. We then moved into party mode with a medley of Christmas classics, ‘Let it Snow,’ ‘Winter Wonderland’ and – which put a smile on my face – ‘Jingle Bell Rock’ and ‘Santa Claus Is Comin' to Town.’ There was something somewhat incongruous about the sight of someone in a billowing ball-gown twisting the night away. And then she departed to a standing ovation, leaving the audience with the words ‘Merry Christmas.’ Quite. I took that as a fairly official declaration that Christmas was now open. I walked back under the lights of the Llandudno promenade, setting the songs I had heard to the sound of the sea. It had been a most enchanting evening.
Katherine Jenkins is a real national treasure, a healer and a unifier of the kind the world is in desperate need of. She must be in line for more honours in the honours list sometime soon. I’d have made her a Dame at least for the Lockdown concerts alone, and something more besides for the songs that struck so deep and personal a chord this night. Queen Katherine! Long may she reign.
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