Julie Zenatti first interpreted the role of Fleur-de-Lys and later Esmeralda on stage for the musical Notre-Dame de Paris. In a press statement, Plus de Diva is described as a piece of contemporary poetry, with extra cinematic and symphonic touches. It features a mix of pop and classical music, as evidenced by the first single, 'L'Herbe tendre,' which is based on a prelude by J.S. Bach.
The Cape Verdean singer was the preeminent force of morna music, which combines fado, jazz, and Latin.
The 1981 Jean-Jacques Beineix film Diva is a dizzying cornucopia of delights, with a strong sense of urban cool and a cast of characters whose alternating detachments and obsessions hint at the legacy of pain and loneliness that helped form them. Its score, composed by Vladimir Cosma, is inseparable from the film, which, after all, is about music itself, and the ways that it links to desire and longing. From the beautiful arias of Wilhemina Wiggins Fernandez (who plays an opera singer in the film) to the eerie, achingly beautiful instrumental pieces composed by Cosma to set the mood for images of rain-slicked streets, Taiwanese music pirates, teenaged Vietnamese thieves, jaded middle-aged art sages, motorbikes and car chases, the score for Diva remains one of Cosma's masterpieces, a perfect companion to a film that became an international underground hit.
Merry Christmas was released in 1994, and 16 years later Mariah Carey delivers a sequel, appropriately titled Merry Christmas II You and also featuring the diva in a sexy little Santa suit. The similarities don’t end there, either: Mariah revives her original seasonal tune “All I Want for Christmas Is You” and often touches upon the classy, clean updated traditional vibe of her readings from the 1994 set. Underneath this surface, Merry Christmas II You has a different vibe than its predecessor, derived in large part from the numerous originals here. Five of the 12 full songs bear a Carey writing credit (including that revival of “All I Want for Christmas Is You”)…
This compilation of selections from a number of Cecilia Bartoli's recitals from between 1994 and 2009, plus several newly released tracks, is unified by the theme of sighs, "sospiri." The music expresses a variety of moods, including sighs of resignation, relaxation, grief, ecstasy, and romantic pleasure. The first of the two CDs is devoted to secular music, much of it operatic, and the second to sacred pieces. The album should offer few surprises to anyone who has a preconceived opinion of Bartoli's vocalism. Fans of her exuberant personality and dramatic temperament will find just what they would expect, as will detractors who are put off by what they feel to be her excessive flamboyance. In any case, whatever one's opinion of the outcome, there's no denying that Bartoli throws herself into all her projects with absolute abandon. She is so deeply invested in wringing the emotional truth out of a piece that she is not afraid to let her voice stray from the principles of bel canto singing that require that tonal beauty be maintained at all times.
Challenging Kate Bush and Guns N' Roses for the title of "lengthiest gap between albums," Now Is the Hour is the first offering from American powerhouse Jennifer Rush since 1998's collaboration with the Hungarian Philharmonic Orchestra, Classics, and her first set of new material since 1997's Credo. Having taken 12 years off to raise her daughter, Rush has assembled a crack team of established European-based hitmakers including Swede Jörgen Eloffson (Leona Lewis, Britney Spears), American country singer/songwriter Sharon Vaughn (Alcazar), and soul-pop songstress Natasha Bedingfield on a record that retains the epic power balladry of her mid-'80s heyday while also pursuing a previously unexplored dance-pop direction similar to Cher's fifty-something disco diva re-invention a decade earlier.