Diana Ross has always been an artist that crossed genre lines, but never was that more true than in the early 1990s. She kicked off the decade near the top of the R&B charts, with the #4 hit “No Matter What You Do” [[a duet with singer Al B. Sure!). Next up came The Force Behind The Power album and “When You Tell Me That You Love Me,” a huge hit in the UK and a song that charted in the US on the Adult Contemporary listings. Diana then hit the top 10 of the jazz album chart with her live recording Stolen Moments: The Lady Sings…Jazz And Blues. Within the next few years, Miss Ross would also be a major force on the dance charts, with a remixed “Someday We’ll Be Together” hitting the top 10, and “Take Me Higher” at #1. It’s safe to say, however, one place nobody ever expected to see Diana Ross would be on the classical charts. However, in her true genre-jumping fashion, she ended up there in 1993.
Christmas In Vienna, is, like Stolen Moments, a live recording, this time of a December 23, 1992 concert in Vienna. Also on the bill were world-famous opera tenors Plácido Domingo and José Carreras [[who, along with Luciano Pavarotti, from The Three Tenors). As the All Music Guide review states, “Christmas in Vienna is almost like a live Three Tenors album, only with Diana Ross taking the place of Luciano Pavarotti. That alone makes for quite a change, since Ross’ style of singing is decidedly different from Pavarotti’s, but she acquits herself well.” Though the combination of Diana and two male opera singers might have seemed odd at the outset, it was incredibly successful; it took Miss Ross to a place she’d never been before — to #1 on the Classical Album chart, according to J. Randy Taraborrelli’s Diana Ross: A Biography. And not only was this album a global seller, it was also a television special and led to other “Christmas In Vienna” concerts featuring Domingo and assorted singers [[including Dionne Warwick the next year).
For Diana Ross fans, certainly it was a pleasure getting some new Christmas material from the singer. Amazingly, despite being a solo star for more than two decades, she hadn’t released a single holiday album in that time; her voice hadn’t graced popular carols since she released Merry Christmas with the Supremes back in 1965. That alone makes this work a treat, but it’s also a pleasure hearing her sing so confidently alongside two of the most celebrated voices in the world. Though Miss Ross isn’t featured on all of the 15 included tracks here, the popularity and longevity of the recording — and the uniqueness of the project — make it a worthy and important addition to her discography [[because she’s only on half of the included tracks, I’ll only be writing about those on which she does appear).
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Amazing Grace: Diana’s performance of “Amazing Grace” from this show has become a celebrated part of her recording history; not only did she feature it on her Forever Diana box set, but it also re-appeared on her 1994 international holiday album, A Very Special Season. It’s a great way for her “introduce” herself to the audience, since the hymn bridges the “gap” between the operatic sound of the tenors and Diana’s roots in soul and blues music. Diana’s performance here is deeply, deeply felt; as her voice echoes through the concert hall, there’s a real, pure emotion that is extremely touching. While the orchestra and choir sound “classical” in arrangement, there’s a lot of soul in Miss Ross’s performance; listen to her at 3:25 in, as she sings the line, “The sun forbear to shine” — there’s no denying that Diana is feeling this song. Though she’s hitting some impressive high notes here, her voice never sounds weak or thin [[as it had at times on Workin’ Overtime); instead there’s a round, full-bodied tone to her vocals. This is an absolutely lovely performance; the thunderous, 30-second ovation from the crowd is proof that she’d easily won over the audience.
Carol Of The Drum: This is Diana’s first chance to sing with one of the tenors, teaming up with José Carreras for this version of the Christmas classic [[otherwise known as “The Little Drummer Boy”). This is a fun listen, since it’s a song Miss Ross had sung on the Supremes holiday album almost 30 years earlier. The arrangement here is brief, running less than three minutes, as each singer tackles a verse and then sing one final round together. Diana’s verse is nice; her voice is sweet and crisp here, hitting the notes lightly but deliberately, almost as though she’s mimicking the beats of a drum. Carreras beautifully handles the second verse, his strong and well-trained voice easily riding the melody. Together, the two singers mesh well; their styles are admittedly quite different, which limits the chemistry between the two, but this isn’t exactly “Endless Love,” either. This is meant to be a pleasing, joyous holiday performance, and that’s exactly what it is.
White Christmas: Diana’s second duet teams her with Plácido Domingo; this is also a tune she recorded with the Supremes, and was one of the best recordings on that album. It’s one of the best on this album too; Miss Ross has a little more melody to work with here than on “Carol Of The Drum,” and though the song is paced really quickly [[personally, I like the slower, dreamier tone of the Supremes version), she sounds lovely again, never oversinging and keeping the memorable melody and lyrics the star here. Mr. Domingo also sounds lovely on the tune; he doesn’t sing as much on this song as Carreras did on “Carol…,” but he and Diana sound quite nice together when they’re singing in harmony. The fault here, I think lies in the abrupt ending; there’s not really a “big finish” here, and the already-short song just kind of comes to a stop, but it’s still a nice performance and a treat to hear her sing this particular song again.
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