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. ~ Jon O'Brien