Babes in Opera land
More female artists adopt the provocative moniker to stand out from the classical crowd
They're blonde. They're attractive. And they've got a catchy name.Skip to next paragraph
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It's no wonder the OperaBabes mezzo Karen England and soprano Rebecca Knight have sparked a fair amount of grumbling and grousing, along with publicity.
Classical crossover highbrow artists performing pop material still seems to make some informed listeners cross.
Bestselling stars like Andrea Bocelli, Charlotte Church, and Russell Watson have garnered scorching reviews, while even the fabulously popular cellist Yo-Yo Ma was recently accused of sounding "trivial and unconvincing" in crossover music by New York magazine.
But even among this critically drubbed bunch, Ms. Knight and Ms. England stand out for the acidity of the commentary they've attracted. Take, for example, a recent story in the "The Independent" newspaper: "Baritone Attacks the Babes who Have Taken the Class Out of Classical Music."
At an awards ceremony of London's Royal Philharmonic Society, the distinguished British singer Sir Thomas Allen classed groups like the OperaBabes with "gimmicks and wet T-shirts and pubescence." He went on to call them "pathetic, a diminution of quality."
Harsh words for two singers who say their aim is to attract a wider and younger audience to a medium, opera, that they love. And in fact, England and Knight do not perform in T-shirts, whether wet or dry.
As for the name, the two singers, who are currently planning a United States tour for this fall, explain that they became Babes almost by chance: "The talent scout phoned us and asked, 'Are you the opera babes?' which we thought was hilarious," says Knight. "It was used for [a performance at a soccer final], and it's kind of stuck."
However, cautions England, "It's not a word we'd ever use about ourselves, and it does come up in interviews quite a lot 'Do you consider yourselves babes?' It's just a name we were given, and we live with it. It's quite funny, really."
Nor are they the classical world's only "babes." In an effort to inspire greater interest in every type of art from medieval poetry to avant garde theater, female artists from Great Britain, the US, and Canada are all proudly waving the "Babe" banner.
Sometimes it's a joke. Sometimes it's a manifesto. But, say these performers, a "babe" is always memorable.
"As our violist explains, 'Some people love the name, and some people really dislike the name, but everyone remembers the name,' " says Andrea Gullickson, founder of the Bach Babes, a Wisconsin chamber ensemble.
And in the performing arts, sometimes it takes more than talent to attract attention. Just a year ago, the OperaBabes were part of the crowd of street performers or "buskers" in front of London's Covent Garden, sharing space with itinerant jugglers and mimes. Now they are on the verge of becoming international stars.
Their act is straightforward and wholesome, although clearly the mix of music they offer is not aimed at purists. Their first album "Beyond Imagination," coming out in the US this fall, contains two different versions of the aria "Un bel di" from Puccini's opera "Madama Butterfly," one with Japanese Kodo drummers and another titled "Vibe Tribe Mix." Another selection features a snippet from Edvard Grieg's Piano Concerto, set to Italian lyrics as "Sempre Ricordo."