Popstar to Operastar is Not on Song
Published on Monday 18th January, 11.42am, Written by Carrie Dunn
The musical theatre world was in uproar on Friday night. Not because their pay has been cut; not because another all-American cast is coming to the West End; but because of the horror that was Popstar To Operastar (ITV1).
Darius Danesh stars in Popstar to Operastar
It’s not surprising that professional singers would object to the myriad live performance crimes of their pop counterparts, who happily confessed to miming a lot of the time. Indeed, some of the show was annoying enough for the reasonably musically-educated viewer; breathing in the middle of words and phrases was one recurrent bugbear, and ditto the lack of control some of the contestants had over their voices.
But I couldn’t help feeling sorry for some of the contenders who have a track record in musicals and presumably still consider themselves part of the fabulous Theatreland community, who have been basically thrown under a bus by their peers. Vanessa White may be in The Saturdays now, but she trained with Sylvia Young, and played Young Nala in The Lion King London as well as one of the Siamese royal family in The King And I. Bernie Nolan has, obviously, played Mrs J in Blood Brothers London (pretty much every Nolan sister has at some point), and most recently starred in Flashdance as Alex’s mum.
I felt most sorry for Darius Danesh, who was incredibly short-changed by the programme. Since he debuted as Billy Flynn in Chicago, his stage presence has matured and so have his vocals. He made a decent Sky Masterson in Guys and Dolls, but an exceptional Rhett Butler in Gone With The Wind, a shining star in a show strewn with flaws. He genuinely has a beautiful tone to his voice, technical ability, and range — so why lumber a bass-baritone with Nessun Dorma, one of the most famous tenor arias in opera’s repertoire? Well, the clue’s in the question. It’s because it’s famous. Never mind that Darius doesn’t quite have the necessary top notes — just shift it down a few tones, the viewing masses will hardly notice.
And that’s the issue I had with Popstar to Operastar. I have no problems with the judging panel — it’s very possible Laurence Llewellyn-Bowen, a broadcaster who hosts a classical music show, has the necessary knowledge about performance; Meatloaf may be over the top but he evidently knows his stuff, putting all the songs into context; Rolando Villazon is obviously highly trained and wise, even though I’m fairly sure his fellow mentor Katherine Jenkins has never starred in an opera at all. And I’ve no problem with the concept — I think bringing opera to a wider audience is invaluable. Too many people are like contestant Kym Marsh, who recognised her song Si Un Jour from the Stella Artois advert; and though Jimmy Osmond clearly knew O Sole Mio, the show’s creative team pushed it as “that song from the Cornetto ad”.
Maybe the intent was to emphasise the fact that opera is everyday and accessible, but presented in this format (Famous Opera Hits From Off Adverts And World Cups) it comes across as dumbing down of the worst kind. It’s made worse when the audience is being encouraged to applaud, Stars In Their Eyes-fashion, at the end of the song’s first line, and whenever they are impressed with a high note.
It’s a shame, because this is a programme with potential. Like the contestants in Channel 4′s Operatunity, these singers could be trained to sing opera and sing it well, perhaps with the exception of Alex James and Danny from McFly, who were clearly picked for their plucky underdog factor and of course the screaming fans they’ll attract. But instead it’s been made into just another gaudy reality show, complete with sore throats (Marsh) and dead mothers (Nolan).
I’ll keep watching, though, if only to see what happens once the creative team run out of advert soundtracks and cliched contestant narratives. Maybe co-presenters Myleene Klass and Alan Titchmarsh will do a duet.
I admit I haven’t actually watched it, but I think you’re spot on, and it’s exactly what I would be thinking!
Thanks for the reminder that Darius is a bona fide West End performer.
The media seem determined to keep him in the ex-Pop Idol (reject/loser) box, no matter what he does.
He seems to be plagued with bad luck.
HE’s getting it in the neck because the aria was transposed down by a fifth. There are plenty of baritone/bass baritone arias he could have performed.
The same happened when Gone With The Wind closed.(I really miss that show.) Suddenly the media was talking about Darius’s flop show and everyone assumed he’d been terrible.
I agree that this show could have been done better, to bring opera to the masses. And I do think that some people will now gain a greater interest in it, but you’re right, it’s too full of advertising soundtracks.
I think Kim Walsh has been performing well, and Marcella too, especially with “Ave Maria”.