Katherine the Great
(Photos by Matthew Thorpe)
Katherine Jenkins at the Venue Cymru, Llandudno, 17th November 2021
I attended Katherine Jenkins’ show at the Venue Cymru, Llandudno, 17th November 2021 and would like to offer a little appreciation. I have just moved to Llandudno and, learning that Katherine was to perform at the Venue Cymru, just ten minutes from where I live, I pondered whether it was worth buying a ticket. I listened to her CDs as I assembled all the new furniture in the flat, and was in good spirits seeing as the work went surprisingly well. So I decided to buy a ticket. I have a few hundred CDs in the field of classical and opera, covering both the light and the ‘real’ stuff, and have half a dozen or so of Katherine’s releases. So I went along more as someone who knows and somewhat admires Katherine Jenkins without actually being too much of a fan. This was the first time I have seen her in concert. I came away a huge fan and quickly snapped up the missing cds in my Katherine Jenkins collection. As impressive as she is on record, she is something else entirely in live performance. It was a heady experience. I think I lost conscious thought at one point.
Katherine Jenkins’ show at the Venue Cymru in Llandudno was the second night of her UK tour. The opening night had been at the Cliffs Pavillion Southend, two days earlier. Like the first night, this was a sell-out concert. It was very much a glorious return to live theatre performance after Lockdown. Katherine has been keeping in touch with a series of hugely entertaining Lockdown performances on FB to an appreciative audience of ‘Lockdown Lovelies.’ I took some time beforehand to take a look at the audience as it gathered in the reception and bar. I’ve always been intrigued to work out the appeal of Katherine Jenkins. I go beyond the obvious appeal of looks. Since there an awful lot of good-looking females in the music business, the question arises why this artist and not others. Katherine is a huge star, with her records selling in such quantities that she practically owns the #1 slot on the classical charts. It can breed resentment among opera and classical music buffs. I see her as an operatic pop singer who performs a range of material: arias, show tunes, movie songs, popular songs, hymns, and traditional. I was always struck by the criticism she has attracted, a lot of it quite vituperative, and thought it entirely unwarranted. It is best to appreciate her for what she is and not for what people think she is or ought to be. It is difficult to avoid discussing ‘the Katherine Jenkins problem’ since she has been a ubiquitous presence on TV and radio. She seems always to be on the bill for every national event. I think it says something significant that she would rise to every grand occasion without fail. I would discuss Katherine Jenkins many times with my dad over the years. My dad liked opera. I grew up listening to my dad’s Enrico Caruso, Benjamino Gigli, and Jussi Bjorling albums, so I know and respect the great opera voices. Comparisons are always invidious. Always, there is a tendency to devalue and denigrate those who would sing standards for a popular audience by comparing them unfavourably with ‘real’ opera stars. It’s not a debate that ever goes anywhere, for the reason it doesn’t compare like for like. And the idea that one is superior to the other doesn’t get you far, either, because they involve different acts requiring different attributes. It was impossible not to discuss the Katherine Jenkins phenomenon as she went from strength to strength, conquering the classical charts. Is she classical or pop? Does it matter? We followed her career as she gravitated further away from her opera and classical background to something more explicitly pop, making a definite attempt to crack the American market. I predicted that she would succeed since she possessed all the attributes and, frankly, a much better voice than all the other divas in this lucrative but crowded field. It didn’t quite happen, so we saw her default to popular show and movie tunes. Whilst there is always a degree of scepticism towards ‘mere pop’ singers in comparison to ‘real’ opera and classical, there is no doubting that Katherine Jenkins possessed a voice and a presence.
So I was interested to observe the Jenkins phenomenon first-hand, gauging her appeal from the inside rather than as a passive observer on the outside. I was most intrigued to appraise her qualities in the flesh. Most people with time to spare before the doors open go to the bar or chat with other folk. I was more interested in trying to fathom the demographics of the Katherine Jenkins audience. There isn’t, in truth, much of a mystery. When asked to explain her enormous success, many critics refer to the appeal she has to Middle England. And, here, Middle Wales. Her repertoire is very tasteful, her presentation and performance very elegant and graceful. Her perfectly measured to those who like nice familiar favourites and popular standards delivered in a refined manner. And she does it very well. It made for an enchanting evening. Critics may complain about her pretensions to be a classical or opera singer, but there can be no denying that she does have a substantial voice and brings its weight to bear on the kind of material that a middling sort of audience appreciates. No-one ever lost money by giving people what they want. And, whatever the musical snobs say, people are, in the main, good judges. Katherine Jenkins knows the source of her appeal and knows how to satisfy the high expectations people have of her.
I looked around and saw an audience which fits the music and its performance – middle of the road, all very tasteful, with no sudden shocks, surprises, or loud noises. It’s comfortable and comforting, uplifting and reassuring. And why not? It’s the kind of thing that puts a smile on your face and sends you home feeling warm and happy. That may not conform to the standards of those who put art first and foremost, but there’s worse things – and it takes someone who has what it takes to deliver what the people want with a ring of quality and authenticity. The show that Katherine Jenkins puts on addresses the audience as a community, the performance drawing disparate people together, enjoying a communal experience as one. The approach works from an assumption that is not as common as it used to be, that for all our uniqueness we are united by bonds of friendship and kinship; even if we may not necessarily feel that that is the case to begin, we will feel that way in the end by singing together.
At this point I abandoned my pretensions of being an anthropologist on a field study and took my place as a member of the community of Katherine Jenkins fans. In the end I settled for the conclusion that they were all just people like me, people looking for a rather pleasant evening out in genial company at the theatre, something a little special grace of a fine singer who knows how to conjure up a little fantasy for folk just like me. For whatever and whoever these people were, I was one of them.
And what a show it was! If we are insisting on authenticity when it comes to art, then this was a ‘real’ show and a ‘proper’ show, a true spectacular in sound and vision. There are many who deride ‘showbiz’ and popular entertainment. I’m not one of them. It takes a special talent to be able – and willing - to address a public as a community and bring disparate individuals together in a communal experience it. It is a noble aim indeed, and all praise to those artists who make the magic happen. This was a night of marvel and wonder. The magical tone was set by the opening number, ‘When You Wish Upon a Star.’ Katherine sang the first verse unseen, before emerging through the curtain and slowly descending steps that were all lit up and shining bright. It was utterly enchanting, sweeping you away into a dreamscape immediately. The fact that we heard Katherine before we saw her made her appearance all the more stunning. Our ears were training our eyes upon the stage in fevered anticipation. Her appearance was an explosion of light and colour in graceful slow-motion. It was impossible not to be struck by the one-shouldered dazzling sky blue ballgown by Suzanne Neville, cinched in at the waist to highlight the singer’s curvaceous figure. Since I am far from being expert on dresses, I had to look up that description and copy it as best I could. My inexpert view what that this was a very nice dress, lovely colour and shape. And I was struck at how graceful and elegant she was moving around in it. The entire show showed evidence of careful thought and planning, care being taken as to what is likely to please the audience in sound and vision and send them home happy. It is expertly done.
Katherine proceeded to put on an equally dazzling show, punctuated by one show-stopping number and set-piece after another. I did think to make the effort to remember the setlist but the fact is that my conscious thought processes were gone by the third song, ‘Cinema Paradiso.’ I love Morricone, I love that film, and I love that song. It was game over. There was nothing for it but to allow oneself to be absorbed in the nice warm feeling now engulfing the entire arena. I do remember that one favourite song after another followed in quick succession: ‘Moon River,’ ‘Singin in the Rain’ (unofficial national anthem of Wales), ‘Somewhere Over the Rainbow.’ There’s no mystery as to why Katherine Jenkins is so popular. Not only do these songs resonate with so many people, she does them full justice with her impressive vocal abilities. She was in outstanding voice throughout. I must admit that when it came to songs which contained the top notes I feared some almighty crash. She got every note and held them, showing that beyond being a singer of popular songs, she has a voice of real weight and power. I was hugely impressed.
Katherine told us that a DNA test she had showed her to be 99.7% Welsh (or was it 97.7%), before singing ‘Danny Boy’ (unofficial national anthem of Ireland). That makes zero sense other than 100% fantastic! (I should disclose the 0.3% to be from Yorkshire, if only to make the point that no-one is perfect. I lived in Sheffield for a time, mind. Very nice place and people).
The show had been so packed with standout performances of favourite and familiar songs that I got it into my head that it was drawing to a close. I think I had succumbed to the feeling of being overwhelmed. I would have gone home happy. It had already been one of the best shows I have seen for years. As it happened, this was just the first half. There’s more?! I was in something of a daze and so just sat quietly during the break, in an attempt to regain control of my senses. My eyes and ears had been somewhat overloaded with good things. My poor overworked brain was dashing in a thousand directions at once. So I sat in a daze, sucking on the boiled sweets I had earlier bought at Sainsbury’s.
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’m copying that description again. I’m not an expert on dresses, but my eyes don’t deceive me, either. I noticed, too, as she sang, a hand and wrist that glittered, also the silver drop earrings. It was a sparking performance all round, that’s for sure. The second set contained the one and only aria of the night, ‘O Mio Babbino Caro’ by Puccini, before returning to show and movie tunes, including a massive Bond set. ‘I guess I always wanted to be a Bond girl,’ she confessed. She knows how to play to crowd favourites. I must admit I was never keen on Bond. If we are going to be populist, how about some Elvis and Queen!? Katherine has recorded a couple of Queen songs, as well as Freddie Mercury’s ‘Barcelona.’ Like Queen, Katherine Jenkins is a crowd pleaser; like Queen, she has attracted some vicious criticism; and like Queen, she is hugely successful. Like Queen, I hope that she cleaves to the path she marks out for herself and pays zero attention to critics. The worst thing you can do is to pay attention to people who will sap your confidence and waste your energy. As Elvis said, when the critics can fill the main room at Las Vegas, they may be worth listening to. But I quibble. I would have liked Katherine to have performed more arias, but it wasn’t that kind of show. I wonder if she could have two acts running alongside one another. That would be incredibly hard to do. But people can’t help being greedy for something so good.
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. I felt it and I dare so most others did too. It is impossible to miss. I love the combination of the sweet, the sad, and the sentimental. Now well beyond the swept away moment, I 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. I am sure that it must have been a performance of one of my most favourite songs of all that got me, ‘We’ll Gather Lilacs.’ I know Katherine has recorded a very moving rendition of the song on her significantly titled ‘Home Sweet Home’ album. She sings it even better live in one of her Lockdown shows. The oddest thing is that, for all that I am normally a cool and analytical observer of events, I really can’t be sure. Somewhere in the night, Katherine had dissolved me into a puddle of unconsciousness. The realm of subconscious delight is telling me that it was ‘Lilacs’ that got me, though. It is certainly the song most likely to reduce me to a state beyond conscious thought and memory. Whatever it was, it was sublime and most moving.
You know how great a show is when it seems to contain everything you love and yet fly by in a flash. We got the two sets and, of course, Katherine was called back for an encore. 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. I started early last year, too, mind. And after this, I’ll be starting early again this year too. We were given official licence by Queen Katherine tonight and I shall take it. She began the set with the solemn ‘O Holy Night,’ but we soon 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 then she departed to a standing ovation, leaving the audience with the words ‘Merry Christmas.’ Quite. I think we can now say that Christmas has officially been declared open. I am now going in search of the Katherine Jenkins Christmas Spectacular DVD.
A special word for the opening act is also in order, violinist Esther Abrami, from the south of France but based in the north of England, and very talented. She set the perfect tone for the evening with her performance of Ave Maria. I shall be searching for the new album she has coming out. It’s always worthwhile keeping an eye on support acts. Katherine herself mentioned how, more than fifteen years ago, she had been support for Hayley Westenra in Llandudno. And now she is the biggest selling classical artist in history, I would have added (but I think we all know). Having seen her in action, it should come as no surprise. Having found her niche, and being so professional in giving the audience what it wants, I can’t see how she can fail. Unless she runs out of material. She seems to have done all the favourites already in her prolific career. She could tour them forever, mind; I’d certainly keep turning up.
KATHERINE JENKINS’ HOT 100
(My most favourite 50 songs are underlined)
"Absence" (Premiere 2004)
"Questo è per te" (Premiere 2004)
"Ash Grove" (Premiere 2004)
"Ave Maria" (Premiere 2004)
"Lord Is My Shepherd" (Premiere 2004)
"Miserere" (Premiere 2004)
"Time to Say Goodbye" (Second Nature 2004)
"Va Pensiero" (Second Nature 2004)
"House of No Regrets" (Second Nature 2004)
"O Sole Mio" (Second Nature 2004)
"En Aranjuez con tu Amor" (Second Nature 2004)
"Song to the Moon" (Second Nature 2004)
"Vide Cor Meum" (with Rhys Meirion) (Second Nature 2004)
"Caruso" (Second Nature 2004)
"Calon Lân" (Second Nature 2004)
"Barcarolle" (Second Nature 2004)
"Laudate Dominum" (Second Nature 2004)
"L'Amore sei tu" (Living a Dream 2005)
“Over the Rainbow” (Living a Dream 2005)
"Canto della Terra" (Living a Dream 2005)
"Cinema Paradiso/Se" (Living a Dream 2005)
"Ebben? Ne andrò lontana" (Living a Dream 2005)
"David of the White Rock" (Living a Dream 2005)
"Torna a Surriento" (Living a Dream 2005)
"I Vow to Thee My Country" (Living a Dream 2005)
"Nella Fantasia" (Serenade 2006)
"O Mio Babbino Caro" (Serenade 2006)
"Lisa Lân" (Serenade 2006)
"Be My Love" (Serenade 2006)
"The Prayer" (Serenade 2006)
"Dear Lord and Father of Mankind" (Serenade 2006)
"Sancta Maria" (Rejoice 2007)
"Secret Love" (Rejoice 2007)
"Le cose che sei per me" (Rejoice 2007)
"Kiss from a Rose" (Rejoice 2007)
"Requiem for a Soldier" (Rejoice 2007)
"Abide with Me" (Sacred Arias 2008)
"Pie Jesu" (Sacred Arias 2008)
"The Lord is My Shepherd" (Sacred Arias 2008)
"Down in the River to Pray" (Sacred Arias 2008)
"May the Good Lord Bless and Keep You" (Sacred Arias 2008)
"In Paradisum" (Sacred Arias 2008)
"Ave Maria" (Sacred Arias 2008)
"Till There Was You" (Believe 2009)
"Bring Me to Life" (Believe 2009)
"I Believe" (duet with Andrea Bocelli) (Believe 2009)
"Parla Più Piano – Love Theme From The Godfather" (Believe 2009)
"Ancora Non Sai" (Believe 2009)
"La Califfa" (with trumpeter Chris Botti) (Believe 2009)
"Who Wants to Live Forever" (Believe 2009)
"Se Si Perde Un Amore" (Believe 2009)
"Adagio" (Believe 2009)
"Black Is the Colour (Of My True Love's Hair)" (Daydream 2011)
"Carrickfergus" (Daydream 2011)
"J'avais rêvé d'une autre vie (I Dreamed a Dream)" (Daydream 2011)
"L'Alba Verrà (The Dawn Will Come)" (Daydream 2011)
"Love Divine (Hyfrydol)" (Daydream 2011)
"Blaenwern" (Daydream 2011)
"Abigail's Song" (From Doctor Who "A Christmas Carol") (Daydream 2011)
"O Come, O Come Emmanuel" (This is Christmas 2012)
"In Dulci Jubilo" (This is Christmas 2012)
"Sleep Quietly My Jesus" (This is Christmas 2012)
"I Wish You Christmas" (This is Christmas 2012)
"Angels from the Realms of Glory" (This is Christmas 2012)
"Wexford Carol” (This is Christmas 2012)
"Land of my Fathers" (Home Sweet Home 2014)
"Beethoven's Ode to Joy" (with David Garrett) (Home Sweet Home 2014)
"Sanctus" (Home Sweet Home 2014)
"Dreaming of the Days" (Home Sweet Home 2014)
"World in Union" (Home Sweet Home 2014)
"Segreti" (Home Sweet Home 2014)
"We'll Gather Lilacs" (Home Sweet Home 2014)
"How Great Thou Art" (Home Sweet Home 2014)
"Home! Sweet Home!" (Home Sweet Home 2014)
"Silent Night" (Home Sweet Home 2014)
"Amigos Para Siempre" (with Mark Masri) (Home Sweet Home 2014)
"The Moon Represents My Heart" (Home Sweet Home 2014)
Jerusalem (Celebration 2016)
Amazing Grace (Celebration 2016)
Cwm Rhondda (Celebration 2016)
All Things Bright And Beautiful (Celebration 2016)
Ae Fond Kiss (Celebration 2016)
Homeward Bound (Guiding Light 2018)
Jealous of the Angels (Guiding Light 2018)
A Gaelic Blessing (Guiding Light 2018)
Dros Gymru'n Gwlad (Finlandia)bring
Never Enough (Guiding Light 2018)
Make Me A Channel of your Peace (Guiding Light 2018)
Nearer My God To Thee (Guiding Light 2018)
Eternal Father (Guiding Light 2018)
Come Thou Fount of Every Blessing (Guiding Light 2018)
Peace in the Valley (Guiding Light 2018)
Morning has Broken (solo version) (Guiding Light 2018)
When You Wish Upon A Star (Cinema Paradiso 2020)
Merry Christmas Mr. Lawrence (Somewhere Far Away) (Cinema Paradiso 2020)
Cinema Paradiso, Featuring – Alberto Urso (Cinema Paradiso 2020)
Moon River (Cinema Paradiso 2020)
Singin' In The Rain (Cinema Paradiso 2020)
The Rose (Cinema Paradiso 2020)
May It Be [Welsh Lyrics Adapted] (Cinema Paradiso 2020)
Just missing out
"Nessun dorma" (Living a Dream 2005)
"Il Canto" (Serenade 2006)
"How Do You Leave the One You Love" (Rejoice 2007)
"Ave Maria" (Daydream 2011)
"Hark the Herald Angels Sing" (This is Christmas 2012)
"In the Bleak Midwinter” (This is Christmas 2012)
"O Holy Night" (with Nathan Pacheco) (This is Christmas 2012)
Morning Has Broken (with Bryn Terfel) (Guiding Light 2018)
To Where You Are (Guiding Light 2018)
Schindler's List (Cinema Paradiso 2020)