The experience was otherworldly. Surrounded in the color red, Anna Vivette opened her mouth and I felt her voice pour into me, spilling into the surrounding space. It was befitting this release take place in a museum.
I have received quite a few invitations to album releases during my tenure at YabYum but never have those releases been held in the Scottsdale Museum of Contemporary Art (SMoCA). Music is, after all, an art form but there is often a strident divide between music and visual arts especially in the upper echelon of the arts community.
Upon listening to Coloratura, I understood what it is about this particular artist that crossed the threshold between music and other art forms. Vivette brings classical music into the modern era through a combination of electronica and operatic vocals.
The title of the album likely refers to Anna Vivette’s lithe and flighty timbre known as a lyric coloratura soprano. Her voice flits and flutters over the darker cast, electronic instrumentals. Coloratura, co-written by Andy Gerold (touring bassist for Marilyn Manson) and Jeff Freundlich, creates a highly inventive soundscape fusing classical to contemporary.
Playing the album for some friends, everyone immediately connected it to the only opera-styled singer my generation can readily identify, the blue diva from The Fifth Element. While the Diva Plavalaguna might have been originally envisioned as a being only possible in future realities, Coloratura proves the future is closer at hand than one might expect.
The April 26th release of Anna Vivette’s Coloratura brought quite a crowd to the SMoCA Lounge… or the Red Room as I like to call it. There were an unusual amount of button-downs and fancy shoes for a record release, more of what I’d expect to see at a gallery opening.