Natasha Marsh

Editorial Reviews

All Music Guide - Jon O'Brien
While Charlotte Church has all but abandoned her operatic beginnings, and Katherine Jenkins has recently started covering the likes of Evanescence and Queen, it's quite refreshing to see that there is a Welsh soprano who hasn't jumped on the classical pop bandwagon just yet. She may have recorded Ewan MacColl's "The First Time Ever I Saw Your Face" on her classical chart-topping Brit Award-nominated debut Amour, but so far, that's her only concession to the increasing dominance of the more commercial and pop-friendly subgenre. Indeed, you certainly won't find any nu-metal cover versions or new tracks written by Gary Barlow on her self-titled sophomore album which, like its ...
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Editorial Reviews

All Music Guide - Jon O'Brien
While Charlotte Church has all but abandoned her operatic beginnings, and Katherine Jenkins has recently started covering the likes of Evanescence and Queen, it's quite refreshing to see that there is a Welsh soprano who hasn't jumped on the classical pop bandwagon just yet. She may have recorded Ewan MacColl's "The First Time Ever I Saw Your Face" on her classical chart-topping Brit Award-nominated debut Amour, but so far, that's her only concession to the increasing dominance of the more commercial and pop-friendly subgenre. Indeed, you certainly won't find any nu-metal cover versions or new tracks written by Gary Barlow on her self-titled sophomore album which, like its predecessor, concentrates on a combination of traditional arias, classical film scores, and 20th century standards. Unfortunately, what you will find is five tracks that were also included on Amour, a bizarre and rather lazy state of affairs considering that the material -- so successful the first time round -- hardly needed introducing to a new audience. But away from the logistics of the track list, Marsh continues to show why she's becoming one of the classical crossover world's leading female artists on these 13 pieces, which perfectly complement her exquisite and versatile vocal range. Backed by John Haywood and Craig Leon's lush production and appearances from both the Bulgarian and London Symphony Orchestra, she performs the classic operatic pieces such as "La Ebben, Ne Andro Lontano" from Alfredo Catalani's relatively unknown La Wally, and "La Quando M'en Vo" from Puccini's La Boheme just as passionately, purely, and sweetly as she does with her renditions of Nino Rota's Romeo and Juliet number "Ai Giochi Addio," and Luis Bacalov's Oscar-winning Il Postino theme "Mi Mancherai." An impressive number of guest vocalists also show up to consolidate her increasingly esteemed reputation, including Blackpool tenor Alfie Boe on an interpretation of Verdi's La Brindisi, Icelandic vocalist Gardar Cortes on a performance of Andrea Bocelli's "The Prayer" (also featured on Cortes' 2008 album When You Say You Love Me), and classical boy band Blake on a charming version of "O Holy Night." But the album's standout comes courtesy of her breathtaking and emotionally stirring take on "Der Holle Rache" from Mozart's The Magic Flute, which has since gained even more anthemic connotations thanks to its use on ITV's Euro 2008 football coverage. Fans who bought her previous release may rightly feel a little short-changed by the regurgitated selection of songs here, but there's enough quality material among the eight new tracks to justify a purchase from even the most tight-fisted of fans. Let's hope she can avoid going down the formulaic pop direction for album number three.
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Product Details

  • Release Date: 10/6/2008
  • Label: Emd Int'l
  • EAN: 5099922779229
  • Catalog Number: 227792
  • Sales rank: 247,930

Album Credits

Performance Credits
Natasha Marsh Primary Artist, Soprano (Vocal)
London Symphony Orchestra Performing Ensemble
Craig Leon Conductor
Royal Philharmonic Orchestra Performing Ensemble
Fridrik Karlsson Guitar
London Voices Choir, Chorus
Tim Redmond Conductor
Bulgarian Symphony Orchestra Performing Ensemble
Deyan Pavlov Conductor
Alfred Boe Vocals
Alfie Boe Vocals
Blake Vocal Ensemble
Fridrik "Frizzy" Karlsson Guitar
François-Xavier Roth Conductor
Garðar Thór Cortes Vocals
Terry Edwards Choir Conductor
Technical Credits
Adolphe Adam Composer
Léo Delibes Composer
George Frideric Handel Composer
Giacomo Puccini Composer
Giuseppe Verdi Composer
Heitor Villa-Lobos Composer
Carole Bayer Sager Arranger
Craig Leon Arranger, Producer
Alfredo Catalani Composer
Rupert Coulson Producer
John Haywood Arranger, Producer
Fridrik Karlsson Arranger, Producer, Engineer
Johnny Mercer Arranger
Jacques Prévert Composer
Rick Blaskey Arranger, Executive Producer
Lee McCutcheon Arranger
Joseph Kosma Arranger
Andrew Dudman Engineer
Fredrik Karlsson Arranger, Producer, Engineer
Jonathan Allen Engineer
Natasha Marsh Arranger, Liner Notes
Alfie Boe Arranger
Simon Strevens Engineer, Vocal Engineer
Oskar Einarsson Arranger
J. Haywood Arranger, Producer
Vladislav Boyadjiev Digital Editing
Elsa Morante Arranger
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