Here is the new "aquisiztion" of Gary:

 

A very beautiful voice, but there is a reason why a sopran should never "go" pop and never cover a pop-soft-rock song. This version sounds cheap, as if the only important thing for her is to hit the most highest tones pro secunde. This song needs emotion, and all i hear is only an angelic empty voice.

 

I presume there is a lot of auditorium for such a voice and style of pop-soprano as Katherine and Mylene shows, but for me, they sound cheap and soulless. They need other music, other passion to come alive, to "comunicate" emotion not only "take a look what a gorgeous voice i have, how angelic it is and at the high notes i can sing" (the best example of soprano emotion is in the Requiem of Mozart and Carmina Burana of Orff)

Edited May 4, 201015 yr by Norma_Snockers

Here is the new "aquisiztion" of Gary:

 

A very beautiful voice, but there is a reason why a sopran should never "go" pop and never cover a pop-soft-rock song. This version sounds cheap, as if the only important thing for her is to hit the most highest tones pro secunde. This song needs emotion, and all i hear is only an angelic empty voice.

 

I presume there is a lot of auditorium for such a voice and style of pop-soprano as Katherine and Mylene shows, but for me, they sound cheap and soulless. They need other music, other passion to come alive, to "comunicate" emotion not only "take a look what a gorgeous voice i have, how angelic it is and at the high notes i can sing" (the best example of soprano emotion is in the Requiem of Mozart and Carmina Burana of Orff)

 

This is the girl that Gary has signed to his label. I was reading about it the other day ... but couldn't find a link to the cover of the song! Thanks.

 

Norma

As i am a huge huge fan of rule the world i expected to hate this version, but it isnt bad at all, not nearly as good as the original but enjoyable.

As i am a huge huge fan of rule the world i expected to hate this version, but it isnt bad at all, not nearly as good as the original but enjoyable.

 

I actually like it more than Take That's original.

 

Norma

Thats a big statement Norma.

Thats a big statement Norma.

 

I do! I don't think it sounds cheap and I don't think she's trying to go for 'pop'. Its just a very, very nice rendition of the song. I really do like RTW and I like the original ... but I'm not going to be precious about it ... there are another dozen or so songs I'd put before it in my top 100 list of favourite songs.

 

Norma

Thats fair enough Norma, i do agree the new version certainly isnt cheap or anything like that a si said i like it but the problem with me is i just love the original so much that i cudnt really like any new version any more, as far as cover versions go this is indeed a very good one.

Don't get upset about my following critics...

 

For me Rule the world is also in top 5, but i think this cover ruins everything i liked in the song. The amazing orchestration is gone, the dramatic is gone, the intermezzo is gone. It has every clishee of such song for sopran/tenor with singing in classical style. *shrugs, bocelli reloaded*

It becames a lifeless song, a pale mirror of the orginal song, predictible musicality, just a panorama of beautiful high notes.

 

I sing sopran myself, perhaps is that why i judge so hard - i know what the limitations of angelic voices are. A dramatic sopran might have impressed me much more on this song... I still think what wants to be between classic music and modern music ends often as being a kitch music (and according to some theories about kitch, pop music is not kitch, because doesn't pretend to be more than it is , while such a song between pretends to be more than it is and has big chances to be a kitch). It's not that i have something against soprans, I am also not a friend of Bocelli or other tenors as singers of pop songs in classic style (the only one i liked was Mario Lanza, perhaps because he had not a pure tenor voice with a classical style but a very dramatic one and in a more "american" way). They get naturally applaud for the ability in their voices, which also this woman should become (wonderful voice, i want hear her singing church music), but for me is a big NO.

 

I liked the versions of Shine or Rule the world for choirs much more.

 

Its onlt fair you get to voice your opinion Iris, personnaly i dont know a hell of aot of classical style music as it aint really my cup of tea but i understand what you are saying, and its great to see all the different opinions in here.

I love this! :o It's beautiful :wub: I don't like watching her singing it though, it puts me off :heehee:

is it gonna get released does anyone know?

I bet is for the album. It is translated in italian to get better with the image. I don't think they would have bothered if it was no for the album.

Ya thats makes sense now that i think about it, i would be interested to hear more songs whether they are covers or not by her.

 

http://www.rte.ie/arts/2009/1104/kerslakec.html

 

Camilla Kerslake Interview

Signed to Take That singer Gary Barlow's record label, 21-year-old English coloratura soprano Camilla Kerslake has just released her debut album, an excellent mix of classical and contemporary music, recorded with the Irish Film Orchestra. Her cover of Take That's 'Rule the World' is already a youtube hit, and you'll be hearing a lot more of the other tracks on the record. The story of how she got to make it is a heartwarming one, as Harry Guerin found out.

 

Harry Guerin: How you got signed to Gary Barlow's label Future Records is one of those real old-fashioned stories.

Camilla Kerslake: It's like a fairytale. I had been doing pop for a long time and classical is incredibly expensive - if you're not wealthy it's just not open to you at all. So I wasn't so it wasn't. I went for an audition and I got this amazing part in this girl band. I thought, 'Oh fantastic, I've finally made it'. About a week later we were sort of filling in application forms and I wrote my date of birth and they read it. This is when I was 20. They said, 'You're 20-years-old?' I said, 'Yep'. And they replied, 'By the time we develop you and release you you'll be 22 - that's far too old'. I was so shocked. Every other industry in the world... 22, how young is that? I couldn't believe it.

 

HG: That's crazy.

 

CK: I thought, 'This is not a world I can work in. I need to go back to classical. I need to get back to my roots. I know I haven't got any training, but if someone could just listen to me and maybe help me out or maybe if I work so hard that I could get a scholarship - just anything'.

 

And then I heard that Gary was recording at Sarm [studios] in London and I thought, 'I bet he can give me some advice'. So I called in a few favours from the production students at university. I was like, 'Please, please, please record me!' I borrowed £20 off my parents, bought a £2.99 backing track off the Internet, a stack of CDs from PC World and made them all up - didn't have a picture or anything - and took them down [to where Gary was recording].

HG: And then...

 

CK: I took one down every day for about six weeks. The thing was I was at university at the time as well so I couldn't hang around and give it to him. I just had to knock at the door and really hope that the people on reception were passing it along. They were really kind, so sweet.

 

After about five weeks I got a phone call from this woman and I thought, 'I haven't given a CD to anyone but Gary'. So I thought, 'Who is this woman? Have I left something on a Tube?' And she was very vague. I just answered as honestly as I could, like I normally do. And I got a phone call back an hour later from her explaining the situation, explaining the label, explaining Gary. I was absolutely over the moon. That was the Friday. She arranged for us to meet on the Monday and Gary offered me a deal there and then.

 

HG: Your cover of Take That's 'Rule the World' in Italian will give you a real crossover audience. There will be people who wouldn't be familiar with Take That's music and Take That fans who haven't listened to classical.

 

CK: Well, that's what I thought. I really hoped that people who listened to Take That and loved pop would listen to this and maybe think, 'Maybe I do like classical music'. So that was the point of the contemporary songs [on the album]. I've done them all in a classical style, just so the people who listen to contemporary think, 'Hey, maybe I do like this stuff'. And hopefully it will work both ways. That would be amazing.

 

HG: So what else is on the album?

 

CK: I pulled from several genres as I wanted people to cross over. There are 'Pie Jesu', 'In Paradisum', 'Panis Angelicus', 'Balulalow'. There are some purely classical tracks on there, but I've also done a cover of 'Closest Thing to Crazy', which really I was sceptical about when it was suggested but it's just got such fantastic lyrics - Mike Batt [songwriter] is just a genius.

 

There's 'Rule the World' and then there are things like 'She Moved through the Fair', the Celtic, sort of lilty-type songs. I wanted to make it an album that's accessible to everybody. I didn't want to exclude anyone. If you don't like the purely classical tracks, well just zip through them - there are plenty of contemporary ones and vice versa.

 

It's more of a feeling, more of a mood, the record. It's not a genre as such. You put it on on a Sunday when you're in bed with all your kids eating breakfast or you listen to it with a sweetheart while you're having a romantic meal. I wanted to get a really loved-up, peaceful vibe. And I hope I have. People need chilled out stuff, especially right now.

 

HG: The best thing that happened to you was not getting in that girl band.

 

CK: Oh gosh, yes. In hindsight it was great, at the time I was absolutely crushed. Completely heartbroken. But everything happens for a reason.

 

HG: That career, with some very rare exceptions, it's very finite.

 

CK: You have a couple of years of wonderful success. You get used to people doing everything for you and then you get dropped and you can't get a normal job because you've a famous face. It's a terrible predicament for young people to be left in, especially since this happens to some of them when they're about 18-years-old. I don't know how I would have dealt with it if I was any younger, honestly. I think it definitely came at the right time for me.

 

HG: But a lot of the time with those groups, it's not really about the music - it's about all the other stuff around the music.

 

CK: The image and the branding. I've really kept it close to what it should be. I didn't want to be one of these people going off on a tangent, selling pictures of themselves to tacky newspapers - that was never going to be me.

 

HG: In terms of having a classical career, how much training does a singer need to have?

 

CK: A classical singer like Katherine Jenkins would have years of private singing lessons and luckily for her - and she did deserve it - she won a scholarship to the Royal Academy.

 

Because I couldn't afford the years of lessons, a scholarship was not an option for me. And because we couldn't afford the fees, that was not an option either. It's quite a closed off world and if I had had the opportunity to pursue it I would've done it without a second thought. But it wasn't and I didn't want my life to be without music, so I thought, 'Well, how can I take this further? How can I continue to sing?' And the way forward for me [then] was pop.

 

HG: So when the pop thing didn't work out did you go for classes?

 

CK: I worked loads. I did loads of gigs, pop gigs. I used to do working men's clubs and pubs and stuff. I saved up quite a lot of money and started having regular weekly lessons with this teacher until I thought that I was at a point where I could make this demo and give it out. But it was a lot of work.

 

HG: They say it's tough doing places like working men's clubs.

 

CK: I enjoyed it. I really earned my stripes. Sometimes I was singing in a pub in front of a flatscreen TV with the football on when all anybody wanted to do was watch the football. And I was like, 'Why have you booked me today?'

 

Other times, especially in working men's clubs, everybody would be having a great time and they would have a pint or two and you start getting people... I never got any abuse, none at all, but you start getting people trying to chat you up and steal the mic from you.

 

It's good, it really makes you prepared for anything. I do 'The Late Late Show' and people are like, 'Are you ok? Are you ok?' And I say, 'These people actually want to hear me! There's no-one here to steal my microphone! I'll be fine'.

 

HG: I remember reading a singer once saying that if you couldn't perform under a single light bulb you couldn't do it at all. You've done the single light bulb thing.

 

CK: In the corners of tiny pubs when there are three people there and when no one's listening to you. In really swanky restaurants where no-one's listening to you either but you have to sing really quietly so as not to offend anyone. I also did a lot of things in churches, but I love that because everyone loves listening when you're singing to God. I really have earned my stripes!

 

HG: Do you believe what they say about everyone having a voice for singing?

 

CK: If you can speak you can sing. And I think it depends on how you were raised. I was raised around music. When my mother was pregnant with me she went from loving terrible stuff - really terrible Seventies disco - to adoring classical music. And she thinks it was me, so I was always raised with it. It was not a new thing for me.

 

I think people who weren't raised with music and maybe people that can't sing as well... but with a little bit of training anyone can sing. It's so healthy, it's so good for you singing. That's why everyone sings in the shower or when they think no one's listening.

 

HG: How did you feel watching the whole Susan Boyle phenomenon?

 

CK: It was amazing. She's been given the chance at something she wanted for so long. She is at a later stage in her life and I think it's fantastic - more power to her. She's got a wonderful voice. I wish her all the luck. I was so pleased. I get a bit upset when they treat people badly on those kind of shows. And I thought, 'Oh, they're going to be terrible to this woman'. And she came out and I was like, 'There you go! She showed you!' Wonderful.

 

HG: Was self-confidence ever a problem for you?

 

CK: Peer pressure was never a problem - I was listening to opera when everyone else was listening to hip-hop. I knew it wasn't cool - I really, really knew! And I was constantly reminded by my friends gently teasing me.

 

No, it's [self-confidence] not really an issue. I find it ridiculously difficult to accept compliments - it's difficult to accept compliments for something you find fairly easy to do. And also, I want to keep myself grounded. I want to keep myself down to earth. And if I start listening to people, I'm just going to turn into this terrible person! And I'm absolutely unwilling to do that.

 

I had a photoshoot yesterday, a really glam one. It lasted about 18 hours and I had people fussing around me all day. I got home after 18 hours of work and my mum said, 'Eh, you don't mind doing those dishes, do you?' I was like, 'Mum, I've been working for 18 hours!' She said, 'Just do the dishes!' I did the dishes, sat down and said, 'I'll be fine'.

 

Camilla Kerslake's debut album is out now on Future/Mercury Records.

 

 

 

Norma

A decent version but she sounded better suited singing on Robbie's Roundhouse gig on the track Starstruck.

I think I know why Gary likes her (no not just her looks) ... they seem to have the same work ethic background ... that and they seem to have played in the same sort of clubs in their youth! Not like she's old now or anything!

 

Norma

He just fancies her i think!!!

He just fancies her i think!!!

 

Pete! Gary is NOT as shallow as that!

 

Norma

I was joking, i wonder how they are all set for marks wedding tomorrow?

I was joking, i wonder how they are all set for marks wedding tomorrow?

 

Looks like its going to be a lovely affair. I wish them every happiness. I can't stop thinking of MacBeth though when I hear the word 'Cawdor'.

 

Norma