Interview: Katherine Jenkins

With a concert repertoire that includes songs by Puccini and Bizet, as well as Evanescence, Queen and Richard Marx, it’s no surprise that classical crossover singer Katherine Jenkins raises eyebrows for some. Add to that the striking looks of a former model and a lavish penchant for multiple dress changes during concerts, and you’ve got classical purists spitting bile over her. But with eight bestselling albums (six of which have gone to number one on the classical charts), sold-out stadium concerts and collaborations with opera stars like Plácido Domingo and Julian Lloyd Webber, there’s no denying the wide-reaching appeal of the 31-yearold mezzo-soprano, whose mix of classical arias, jazz and easy-listening pop has struck a chord with mass audiences.

‘It’s really just how it happened,’ Jenkins says of her career path. Born in Wales, the singer received a strong training in choral singing, winning a scholarship to study at London’s prestigious Royal Academy of Music at 17. After graduating with honours and receiving a music teacher’s diploma, she moonlighted as a tour guide and a model – a career move that culminated in her being crowned the Face of Wales 2000 – before fate intervened. ‘I had graduated from the Royal Academy and had starting teaching to make enough money to pay for my postgraduate studies when I got offered my first record contract,’ she recalls. ‘I had never really thought of doing anything other than going down the traditional classical and opera route, but I knew it was a great opportunity.’

Her demo reached the office of Universal Classics and Jazz as they were looking to capitalise on the popularity of the immensely successful Sarah Brightman-Andrea Bocelli hit duet ‘Time to Say Goodbye’ – the song that established classical crossover as a genre of its own. Upon hearing Jenkins’ rendition of the Rossini aria ‘Una Voce Poco fa’, the label offered her an unprecedented six-album deal in 2003 worth £1 million (S$2m), reportedly the largest ever received by a classical recording artist.

Traditionally, the term ‘crossover’ was used to describe an artist of a particular genre trying out music of another. In the classical context this might mean the occasional jazz or pop song sung operatically, or a traditional aria sung with pop arrangements. And despite the flak the genre has received from hardcore classical lovers – many of whom view their work as bastardising great historical pieces – Jenkins has no regrets about the path she chose: ‘I love being a classical crossover artist because it allows me to incorporate so many different things into my repertoire,’ she says. Among her recordings are pieces ranging from Leonard Cohen’s ‘Hallelujah’ to opera classics such as ‘Nessun Dorma’ from Puccini’s Turandot. There are even Italian arrangements of pop songs like ‘I Will Always Love You’ and ‘(Everything I Do) I Do It for You’, entitled ‘L’Amore Sei Tu’ and ‘(Quello Che Faro) Sarà Per Te’, the opening tracks for 2005’s Living a Dream and 2006’s Serenade, respectively.

Mass audiences have embraced the music for presenting classical options in a more accessible style. Jenkins’ fifth album for UCJ, 2007’s Rejoice, outsold albums by the Spice Girls and Celine Dion, hitting the UK charts at number three (as well as number one on the classical charts). And when her contract with UCJ was up, Warner Music swooped in with an even larger, record-breaking offer, paving the way for 2009’s Believe, featuring collaborations with other classical crossover artists such as Bocelli and violinist André Rieu, as well as the aforementioned adaptations of Evanescence and Queen (‘Bring Me to Life’ and ‘Who Wants to Live Forever’).

Yet for all the universal appeal she holds, Jenkins has not ruled out the possibility of an operatic career. ‘I still hope I will be able to play the role of Carmen one day,’ she says. ‘I am still studying with my teacher from the Royal Academy and sing the arias regularly in concert.’ Likewise, one of her biggest heroes remains opera giant Domingo, who personally took to mentoring the neophyte after performing together in concerts. ‘Maestro Domingo has been a huge inspiration to me,’ Jenkins says. ‘We have performed lots of concerts together, and when he had the time, he worked on my singing. Mostly he worked on my technique. The opportunity is something I will never forget.’

So what should we expect from her appearance in Singapore? ‘I will be singing the most popular songs from all my albums, as well as premiering [songs] from my new album Daydream,’ she says. ‘There will be everything from opera, classical, musical theatre, folk, spiritual and pop, all performed with an orchestra under the direction of Anthony Inglis.’ She adds with a wink: ‘And of course, there will be many dresses!’

Katherine Jenkins plays the Esplanade Concert Hall on 4 Dec.