Related stories: Adam Lambert’s musical theater roots Complete SDNN Adam Lambert coverage
As an “American Idol” finalist, San Diego’s Adam Lambert is accustomed to performing for Simon, Paula, Kara and Randy. But he probably never faced a panel of opera experts. Until now. SDNN thought it would be fun to have an operatic panel assess everything from Adam’s voice and looks to his charisma. The idea isn’t to be snobby or snarky. Everyone knows he’s talented. And nobody expects the guy to be the next King of the High C’s. The point is to provide some insights into his appeal and assess whether “American Idol’s” glam prince has what takes to become a superstar. So meet the judges and find out what they have to say. Nicolas Reveles, Geisel Director of Education and Outreach at San Diego Opera Adam’s voice: As an opera professional this is probably going to sound strange, but I love his voice! I imagine he’s a baritone but he masks that with a terrific head voice (falsetto) that is incredibly well trained, fluid and able to communicate emotionally. It’s particularly good in his slower, lyric numbers like “The Tracks of My Tears” and “Mad World”. I also reviewed his performance of “Black and White,” where it seemed to me that at times he was driving the voice a little hard. But one has to accept that with pop and rock singers. His pitch is excellent, even in those crazy “coloratura-like” passages; the only pitch issue I had was with the initial moment of the very last note in “Mad World” but he obviously heard the problem and fixed it on the spot. That was very professional, very self-aware, and it’s something that opera singers often have happen to them as well. So he’s in good company. His looks: Adam has a distinctive look that makes him stand out from the crowd and this is all to his benefit for a career in pop music. He’s attractive but mysterious and has a kind of “dark” thing going for him that makes audiences want to know more about him. The only thing that I’d caution him on would be that he’s a bit wide in the hips and tends to a bit of pudginess in the face. He’ll have to continually work with hair stylists and wardrobe designers to minimize these features. I foresee what happened to Elvis in his later years if Adam doesn’t carefully watch his physique. But when he wins “American Idol” (that’s “when,” not “if,” as far as I’m concerned), he’ll have plenty of money for a physical trainer! Charisma: Adam Lambert has the world on a string. He moves with incredible sex appeal but shows us moments of vulnerability and purity as well. The audience obviously loves him, and so does the camera. He knows that and he works it honestly without coming off as a poseur. I feel like he’s serving the song every time he steps up to the mic. He most certainly has that certain something, that rare combination of talent, ability to communicate on many levels, an interior sense of a song, inherent musicianship and cockiness that demands attention from an audience and offers it something new. Mini-review: I chose “The Tracks of My Tears,” which can be downloaded from iTunes. Adam’s diction in this song is impeccable, something that’s the hallmark of a great singer in any genre (Frank Sinatra and Ella Fitzgerald come to mind, but also Renee Fleming and Bryn Terfel). That ability helps him to bend syllables and color certain words, making the communication of the overall song a joy to experience. He seems as if he’s improvising his embellishments (”licks”) on the spot; it doesn’t matter if they’re plotted within an inch of their lives. He makes it seem completely fresh which, after all, is the whole point. The phrasing makes me realize that he knows this song from the inside and is letting us in on the secret of the song, giving us some precious insight that only he might have known before. The register breaks in his falsetto are masterfully covered so that everything sounds seamless and perfectly legato. A wonderful, engaging and touching performance. Chances of becoming a superstar: High. This guy’s going to become a major star, no question about it. And I’ll tell you a secret: I will probably buy his first solo album. There. I said it. Leon Natker, General Director of Lyric Opera San Diego Adam’s voice: Adam is a Broadway-style lyric tenor. He supports his voice well, which is no small achievement in heavy metal rock. He also doesn’t rely on falsetto tricks in the upper register; he’s really singing the notes with his full voice. His diction in Led Zeppelin’s “Whole Lotta Love” is better than the original recording so he definitely is trying to communicate with an audience. He has been on the road with “Wicked” so we know he has the stamina to last eight performances a week. It’s hard to tell from recorded media how big the voice is but it clearly has potential on a microphone. My questions would be: How long can he do this style of singing and is it the best style for his voice and for a long career? He seems to have the voice under control; I think it’s a matter of choices for him. What does Adam want in ten years? His looks: I know the “Idol” staff styles these kids and I have to wonder what they’re really going for with Adam’s “look.” We all can tell that they’re thinking of him as a Rock Star but are the make-up and the funky hair the best they could do? Appearance in the pop scene is very important; I just don’t see whom this look appeals to. Charisma: I’m probably the wrong person to ask this. He has a great deal of energy and charisma when he performs. He clearly is comfortable in front of an audience. I just don’t know whom it appeals to. Of course I’m not in the business of selling pop CDs to a very young age demographic. Mini-review: I watched his performance of Led Zeppelin’s “Whole Lotta Love.” His voice was right on pitch and well supported, his diction was excellent and for that type of number I think his phrasing was good. Many rockers breathe at awkward moments because they’re pushing the voice and are out of breath. Adam doesn’t have this issue. I think it’s a good rendition of that heavy metal style of singing. Chances of becoming a major star: Medium. Valerie Scher, the SDNN Arts & Entertainment editor and a San Diego correspondent for London-based Opera magazine Adam’s voice: Impressive. But not easy to categorize. Adam has tenor-like qualities along with some of the darker shadings of a baritone. He can also soar into the stratosphere with a fearless falsetto. Lean, supple and attractive, his voice is versatile enough for a variety of styles. And his attentiveness to pitch, phrasing and breath control indicates he’s combining his musical instincts with a firmly grounded technique. That should prolong his career. His looks: Dark nail polish and glittery guyliner may not work for everyone, especially someone singing Mozart or Massenet at New York’s Metropolitan Opera. But it works for Adam. If anything, his kind of androgynous chic has expanded his fan base. Combine the shaggy black hair, skin-tight pants and leathery jackets with an unpretentious, nice-guy persona and you get a singer who looks like a bad boy without being scary. Charisma: Are you kidding? Adam oozes charisma. If he could bottle the stuff, he would make a fortune. That kind of allure can’t be faked. Some of it has to do with confidence, the way a performer takes command of the stage. Legendary opera singers from Caruso to Pavarotti had that ability. Adam has it, too. He seems comfortable with who he is and attuned to his own aesthetic. He almost dares you to watch and see what he can do. And people are watching, by the millions. Mini-review: I picked “Born to Be Wild,” the Steppenwolf classic that’s often credited with being the first heavy-metal song. What I like about Adam’s version is that it blends wildness and control, passion and sophistication. Much like an opera singer enhances a melodic line with ornamentation, Adam supplies his own virtuosic flair. He bends notes, makes wide leaps, adds elaborate embellishments and pumps up the volume to an ear-tingling fortissimo. It’s all proof of his vocal mastery. Chances of becoming a major star: Medium to high. The reason I’m hedging is that the pop music world is notoriously fickle. Unlike opera, where singers often perform year after year, even decade after decade, pop music is always hungry for the next big thrill, the newest sensation. Yet one thing appears certain. Adam has loyal fans in San Diego. And they appreciate him for all he has to offer. Rock on, Adam! Valerie Scher is the SDNN Arts & Entertainment editor.


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