Composer: Lesley Garrett
Works: Travelling Light
Performers: Lesley Garrett (soprano), Sir George Martin (producer, arrangement), Michel Legrand (composer, conductor), Denyce Graves (mezzo-soprano), Bryn Terfel (baritone), Michael Ball (baritone), Evelyn Glennie (percussion), The Clare Singers
Recording: Recorded at Air Studios and Whitfield Street Studios, London, 2000-2001
Label: EMI
Lesley Garrett’s Travelling Light marks a significant moment in the evolution of her artistry, transitioning from the realm of classical crossover to a more defined popular idiom while retaining the vocal prowess that has established her as one of Britain’s most beloved sopranos. Collaborating with luminaries such as Sir George Martin and Michel Legrand, this album showcases a diverse repertoire that spans musical styles, cleverly juxtaposed to illuminate the multifaceted nature of Garrett’s talent. The recording encapsulates not only her vocal agility and interpretive depth but also the burgeoning trend of classical artists venturing into broader, more accessible musical landscapes.
The album opens with a vibrant arrangement of Elvis Presley’s “Surrender,” which seamlessly melds into “The Wonder of Love.” Here, Garrett’s interpretation is buoyant, her voice soaring with a youthful exuberance that breathes new life into a classic. Nick Ingman’s arrangement infuses this track with a playful rhythm, enhancing the inherent charm of the song. The recording quality is superb, with clarity that allows every nuance of Garrett’s voice to emerge distinctly against the lush orchestral backdrop, a hallmark of the skilled engineering at Air Studios.
Throughout Travelling Light, Garrett’s vocal technique is on full display. In “Ave Maria,” composed by Tolga Kashif, her ability to negotiate delicate high notes with a pianissimo that remains unblemished is particularly striking. The contrast with boy treble Julian Leang adds a layer of purity and innocence, enriching the listening experience. This interplay of voices exemplifies Garrett’s understanding of ensemble dynamics, as she allows her sound to blend rather than dominate, showcasing her maturity as an artist.
The album also features a notable duet with Michel Legrand in “Et Si Demain,” where Legrand’s participation adds a personal touch. His lower vocal range complements Garrett’s soaring soprano, though it is evident that Legrand’s vocal limitations necessitate a key choice that pushes Garrett’s part into her upper register. Nevertheless, this creative decision allows her to demonstrate her formidable control and agility, particularly in the upper tessitura, where few singers dare to tread with such confidence.
Sir George Martin’s arrangements of “For No One” and “Blackbird” are particularly noteworthy. The reimagining of these Beatles classics for soprano and orchestra showcases his deft touch, with the substitution of a French horn for the original trumpet providing a richer harmonic texture. Garrett navigates the demanding leaps with remarkable precision, particularly in the ethereal line “Into the light of the dark black night,” where her voice soars effortlessly, a testament to her technical mastery.
Garrett’s interpretation of “I Dreamed a Dream” from Les Misérables is infused with an emotional weight that resonates deeply, while “Mambo Italiano” reveals her playful side, enhanced by the vibrant percussion of Evelyn Glennie. The latter’s contributions throughout the album provide a refreshing rhythmic vitality that complements Garrett’s interpretations. In “Over the Rainbow,” one can anticipate significant radio play; the arrangement is lush yet intimate, allowing Garrett’s warmth and expressiveness to shine through.
Travelling Light is an album that rewards careful listening, offering layers of musicality that unfold with repeated hearings. The combination of Garrett’s exquisite vocalism, the high production values of EMI, and the ingenuity of her collaborators culminate in a work that transcends mere genre categorization. With this recording, Lesley Garrett not only reaffirms her place among the upper echelons of contemporary vocalists but also sets a precedent for future explorations of the popular and classical music nexus.
