Review: Katherine Jenkins: Daydream Tour, Playhouse Theatre

Katherine Jenkins' vocals had the audience in raptures and she dazzled in a succession of diva frocks
Katherine Jenkins' vocals had the audience in raptures and she dazzled in a succession of diva frocks
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Poor Katherine Jenkins, having her heartbreak plastered all over the tabloids.

Would it be wrong, however, to suggest that her tragic split from clean cut fiancé Gethin Clifford Jones might be one of the better things that will ever happen to her?

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In terms of her career it may have a two-fold effect – to free up space in her busy schedule for more touring and to inform her performances.

Briefly thanking the audience for all their support during the difficult time she has experienced recently (presumably referring to her split with Gethin), Jenkins noted wistfully that looking through her collection of albums before the tour, she realised that all of her songs “were either about love or heartbreak. But that’s my problem”.

To be honest, if you’re not Joni Mitchell then you’ve got a slim chance of being a female artist whose repertoire is much different.

What Jenkins has gained from her own heartbreak is the opportunity to allow it to influence her art and the way she expresses her body of work.

While she possesses an outstanding voice that easily fills the Playhouse and had the stalls on their feet applauding and calling for more, there is a reserve to her engagement with the lyrics that does a disservice to her vocal performance.

In particular, her rendition of Over The Rainbow was perfectly crafted yet lacked the bittersweet melancholy so favoured by many performers.

Appearing on stage in dazzling frock after dazzling frock, and smiling sweetly like the girl next door, she seemed more Mad Men mannequin than a highly regarded, world-renowned mezzo-soprano.

Perhaps she’s just too British to try ripping your guts out in the way that some Southern European divas do during their finer moments.

Though Jenkins’ enunciation is certainly superior, particularly in Bizet’s Les Tringles Des Sistres Tintaient.

In contrast, supporting act Nathan Pacheco’s voice was arguably a little lighter than Jenkins’, but his interpretation and audience rapport was instant, his Nessun Dorma astounding the crowd.

However, what really detracted from two five-star vocal performances backed by a superb orchestra were the array of World War Two search lights endlessly distracting an almost rapt audience.