Inside Sarah Brightman’s Harem

Mention the word "harem" and most people would tend to imagine scenes straight out of the sand dunes of the Sahara. Evoking scenes bordering on the sensuous and the mystic, it also paints vivid portraits of scantily-clad concubines lazing languorously amid satin sheets and the thick smell of incense in the air.

While such images may hold true for many, it’s an entirely different visual landscape for classical singer Sarah Brightman. The highly-acclaimed worldwide phenomenon, known for her blockbuster albums such as Dive, Time To Say Goodbye, Eden, La Luna and Sarah Brightman: Classics has recently released her latest album, Harem, under the EMI label.

Fascinated with ancient Middle Eastern lore and culture even during her childhood years, Sarah vividly remembers cinematic images from such literary classics as the Arabian Nights, Lawrence of Arabia and even C.S. Lewis’ multi-volumed tales of Narnia.

"At an early age, I loved soaking up the works of C.S. Lewis, such as The Lion, the Witch and the Wardrobe, the Tales of Narnia and other tales from the Middle East," she shares in a recent phone interview arranged by EMI Music Philippines. "Harem" means "forbidden place" in Arabic, and I’ve liked the idea of parallel worlds, faraway lands, and the ensuing mystery. It’s something I’ve confirmed myself during my travels over the years."

In keeping with her intended mid-Eastern vibe, Harem features a hodgepodge of first-rate orchestral players from as far as Prague and Cairo, including classical violin virtuoso Nigel Kennedy and fast-rising Middle Eastern singers Kazem al-Sahir, Ofra Haza and Shweta Shetty. Producer Frank Peterson — her producer from all her previous albums — continues his chart-breaking legacy, but this time bathing his orchestral soundscapes with a nifty blend of Eastern and Western influences.

Of the famed violin virtuoso, Sarah says, "I’ve known Nigel for years. It’s funny because he’d adjust to all his parts in one take. He did three, but the first one was perfect."

For their title track, the singer-producer tandem wrote new lyrics for a melody which is a loose adaptation of Cancao do Mar, a classic derived from Portuguese origins.

Brightman’s songwriting genius, which shines in Until the End of Time, evokes the same cinematic imagery and melancholy in such cuts as The War is Over, Gueri de Toi/Free, The Journey Home, What You Never Know, Beautiful and Mysterious Days.

Nostalgia lovers are bound to be charmed by her daring remakes of the popular hits Stranger in Paradise and that old Louis Armstrong favorite, What a Wonderful World.

Just for the curious, prior to her ascent to fame, Sarah was a fixture in the musical theater circuit, where she eventually got her first big break in Cats, and was largely identified with her sterling portrayal of Christine in The Phantom of the Opera.

Despite her strong grounding in the classical genres, Sarah confesses to having her rock and roll side as well. "I was born in the ‘60s," she narrates, "so I grew up liking a lot of the groups back then and even much later, including David Bowie, Deep Purple (gasp!), Velvet Underground and Lou Reed."

"Unknown to many," Sarah confides, "I also started recording when I was in my teens. There was this mini-record company back then in the UK called Whisper Records, and luckily, most of the albums we did enjoyed good radio airplay back then.

Despite her current "reign" as one of the world’s most revered classical singers, Sarah shrugs off the concomitant fame ("I just did what I had to do. I didn’t think of the fame part. Growing up in a sleepy town outside London during the ‘60s and ‘70s sort of makes you feel less susceptible to all those trivialities") and refuses to be pigeonholed by a particular genre. "I do believe that what I do encompasses other genres as well," she clarifies. "If you have to put a label to it, I could call it classical crossover, since it touches pop, rock and new age styles as well."

Asked how she gets her inspiration for new tunes, Sarah replies, "Generally, listening to classical music triggers it. But more often than not, I also get it from other sensory experiences. See, I love art, photography … I like textures and colors."

Unlike most superstars of her stature who tend to be snobbish and clam up upon mention of rather personal issues, Sarah was a refreshing study in contrast. Expecting a curt reply when asked about matters of the heart, she willingly spilled, "Oh, I’ve been married twice, but never again!" Fishing for more details, she readily obliged, "But it’s not worth it. I have my family and a boyfriend who I love dearly. We’ve been together for 11 years now."

Half-giggling over her last revelation, she retorts, "It’s not that he’s tolerated the kind of lifestyle that I’ve led over the past years. Rather, I should emphasize that I’m more understanding of him. I should know. He’s in the music industry as well."