Crossover

I love it when a song refuses to sit neatly in one style. It might begin like a pop song and then suddenly, an operatic line cuts through. Those are the moments that make you stop. Wait… is this still the same song?

Hey, Mr. Curiosity by Jason Mraz does exactly that. It's so exciting! One of my absolutely favourite songs is Girl in 14G, which somehow holds pop, jazz, and opera all at once - brilliantly delivered by Kristin Chenoweth. Or think about the fabulous Bohemian Rhapsody. The Barcelona album by Freddie Mercury and Montserrat Caballé takes it even further: bold, theatrical, and completely unapologetic in its mix of styles.

Lady Gaga, who studied classical music, often weaves in baroque influences and classical vocal structures, like her use of Monti's Csárdás in Alejandro. Little Me by Little Mix echoes Fauré's Pavane, Memories by Maroon 5 is built on Pachelbel's Canon in D, The Beatles' Because was inspired by Beethoven's Moonlight Sonata - played backwards! 

And then there are operatic interpretations of pop songs. Toni Braxton's Un-break My Heart becomes  operatic Regresa a Mí in the hands of Il Divo.  Or listen to this fantastic operatic take on Chandelier, sung by my friend Louise.

Artists like Andrea Bocelli and Sarah Brightman have made entire careers in Popera, a blend of operatic technique, classical influence, and contemporary pop.

Some singers have a natural ease in a more classical sound, yet feel drawn to contemporary repertoire. Kate Bush comes to mind. Others start in pop or musical theatre and discover a different colour in their voice along the way.

We often think in categories: classical, musical theatre, pop. And those categories are useful, they give us a framework for style and technique. But voices, and music, don't always stay neatly inside them. And venturing outside your comfort zone can be incredibly exciting and freeing. 

So keep exploring. Sing what feels good and stay curious about what your voice can do.