Enchantment from the Enchanting Charlotte Church

She’s a rolodex of queens, first ladies, presidents, and popes. She’s considered one of the purveyors of contemporary orchestra pop or classical crossover. She has a multi-platinum catalog and over three high-ranking (and selling) albums. She’s got the voice of an angel at 15 years old. This girl is indeed a phenomenon.

Charlotte Church is an intriguing mix of child wonder slash baby prodigy and bubbly teenage lifestyle, with, yes, shopping being among her main priorities.

I know what you are thinking; classical music sucks, however people may declare that Bach and Mozart are première geniuses. But Charlotte’s brand of classical music invades uncharted borders, coming up with a style that fuses Broadway, Latin, Jazz, Celtic, Ethnic and Pop; a brand only unique to her. And this style has never been more evident than in her latest album, Enchantment.

With cuts borrowed from Broadway hits such as West Side Story ("Tonight" and "Somewhere"), Yentl ("Papa Can You Hear Me?") and Carmen ("Habanera"), this album is secured by the "hitting-two-birds-with-one-stone" marketing strategy by providing classical chic and Broadway glamour. Being true to her Welsh heritage, she puts in a cut that is truly Celtic in origin, "Carrickfergus", which she claims "has a more contemporary feel." Keeping up with the rather exaggerated Latin craze, however post-mature, old-timers such as "Habanera" and the popular English lullaby, "All the Pretty Horses" are laced with the sensuous pluckings of flamenco guitars and South American percussion beats. But what really puts this album a cut above the rest is the rendition of "Bali Hai," which incorporated an undoubtedly ethnic atmosphere most apparent with the tribal flute opening and the African-inspired percussion accompaniment.

This CD is perfect for adding a little class and culture in your life, not to mention giving your parents a break from the eardrum threatening rock, the almost mindless hip-hop, the cerebral-punishing techno, and of course, the nauseating boy-band/bimbo bash pop. But I highly recommend this for infant consumption, perhaps to create yet another child prodigy.

This album is yet another page for Charlotte Church’s ever-expanding resume. Indeed, a far leap from the time when she first landed a recording contract after a single appearance on a local TV talent show only six years ago.