Britain's OperaBabes, Rebecca Knight and Karen England, came on the scene early in the 2000s with solid vocal chops. Silent Noon comes after a hiatus of several years, during which both OperaBabes became parents. Accompanied only by piano, it diverges a bit from their somewhat splashier earlier efforts. The music here consists mostly of British songs from the 20th century, with a couple of Benjamin Britten's loveliest folk song arrangements thrown in to leaven the mix (O Waly, Waly is the song known in the U.S. as The Water ...
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Britain's OperaBabes, Rebecca Knight and Karen England, came on the scene early in the 2000s with solid vocal chops. Silent Noon comes after a hiatus of several years, during which both OperaBabes became parents. Accompanied only by piano, it diverges a bit from their somewhat splashier earlier efforts. The music here consists mostly of British songs from the 20th century, with a couple of Benjamin Britten's loveliest folk song arrangements thrown in to leaven the mix (O Waly, Waly is the song known in the U.S. as The Water Is Wide). They vary in weight, with Roger Quilter and Handel at one end of the scale and light-music composers Ivor Novello and Albert Ketèlbey at the other, and the range is unusually wide for a crossover release, in which realm Quilter's especially is not a common name. Nevertheless, the material is remarkably homogeneous. The Babes' calling card was the blend of their remarkably similar voices, and that's intact here. Yet an upbeat number or two wouldn't have been out of order,...
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