Sarah Brightman
Harem

THE REVIEW

Marrying one of the founders of Enigma (and the first member to leave) turned out to be an extremely wise choice for Sarah, a light soprano and former muse of Andrew Lloyd Webber. Taking advantage of the dreamlike and hallucinogenic atmospheres that Peterson mastered, she presents us with a new "themed" album, as had already happened with the previous "La Luna". Instead of cold northern and winter atmospheres, as we can infer from the title, we are transported into the enchanted and seductive world of "The Thousand and One Nights," thanks to a skillful mix of classical music, pop, and ethnic nuances.

As usual, Sarah and her staff offer a collage of original songs, reworking of classical pieces, and covers. The title track is the revisiting of a Portuguese song, this time with Arabic flair. The initial languor suddenly explodes into a tumultuous disco rhythm, enhanced by glossy synthesizers that blend perfectly with the intriguing Middle Eastern melody. We continue with the inevitable cover of "What a Wonderful World", very airy and bright. However, the first real gem is "A Beautiful Day", where a famous piece from Puccini's "Madama Butterfly" is combined with modern electronic sounds. The result is an engaging rhythm combined with an exceptionally clear and ethereal vocal performance.

The album continues with songs that venture through images of deserts and gardens overflowing with fragrances. Notable is the melancholic Free, presented in French as a bonus track. "What You Never Know" is an equally sweet track, as are "The Journey Home" and "The War is Over", with pacifist undertones yet not at all cloying. "Mysterious Days" reprises the mix of dance music and Middle Eastern sounds of the first track, but with a more catchy result. "Beautiful" is a whispered, intimate, and touching track, preceding the majestic suite of "Arabian Nights". The latter, divided into five parts, ranges from the already known dance nuances to much more tribal tones, without neglecting more melodic and suspended moments, culminating in a finale supported by a soft and timid electric guitar, projecting dim visions of nocturnal landscapes and oases bathed in moonlight. The album then ends with a cover of the famous "Strangers in Paradise", very respectful of the sober atmospheres of the original, and in a decidedly tender song, "Until the End of Time".

As usual, the singer's vocal abilities cannot be doubted. Her crystalline voice, at times almost adolescent, unfolds magical atmospheres like few other singers have been able to do. Also noteworthy is the production of this album, with impeccable sound quality. Finally, I would also draw attention to the videos derived from some songs, set in the rooms of luxurious Middle Eastern palaces, creating a unity with the music.

In conclusion, listening to a Sarah Brightman album truly represents a kind of daydream, as refined and evocative are the atmospheres that her music intends to recreate.