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But Brightman can do more with her voice than those Swedes, and part of what gives people chills is the way she can push her squeaky sound up into its top register in a piece like "Silent Night" (track 4) and not lose control. Other examples might be the two female vocalists of ABBA, from whose Arrival LP the opening selection is drawn. She's the crossover equivalent of Donna Summer or Beyoncé, a singer who is good at adapting her voice to the needs of the surrounding production. You can argue over whether Andrea Bocelli or Russell Watson has operatic chops, but the debate is irrelevant in Brightman's case.
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Some of the factors that have made Brightman unusually successful among practitioners coming from the pop/Broadway side of the genre are on display in this seasonal release, with the outer covers showing Brightman slogging through a winter landscape and the booklet artwork showing the prone, bare-shouldered singer swathed in diaphanous linens and looking awestruck as snowflakes or confetti (better hope it's the latter) drop from above. The genre is British crossover classical, with a mixture of contemporary pop-style tunes and more traditional numbers, in this case Christmas carols. You probably already know whether or not you're going to like this album, but for those who haven't yet encountered the phenomenon called Sarah Brightman, a stab at objective description may be in order.
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