"THE SOUTH BANK SHOW"
REVIEW BY ROB COPE (Photos : Dave Fleming)
ORIGINALLY TRANSMITTED ON THE ITV NETWORK 15th MARCH 1987
Few could have predicted that when - in 1978 - ITV launched a new arts strand entitled 'The South Bank Show', it would become one of the leading arts documentary makers globally. It is now considered an enormous honour to be the subject after a long, long history of critically acclaimed films.
So it was that Barbara Dickson came under the spotlight in a programme highlighting her greatest asset - her voice. The programme's long-term producer, Alan Benson, thought it would be a great idea to see Barbara's folk-trained voice set upon a classical piece in an attempt to see if there was a folk/classical crossover. Lesser artistes might have been terrified at the prospect - not our Barbara. She clearly enjoys the challenge to add 'Que Faro' (an aria from Gluck's opera 'Orfeo Ed Euridice') to her repertoire.
The show opens with Barbara and her band of that time (Ian Lynn on keyboards, Pete Zorn on sax/guitar, Andy Brown on bass guitar, Bob Jenkins on drums and Richie Brunton also on guitar) performing 'Caravans', a concert favourite for over twenty years now. Barbara talks of her love of music from an early age and how the Everly Brothers inspired her love of folk music and The Beatles gave her a love of harmony singing. We then get the Emmylou Harris song 'Boulder To Birmingham', perhaps the best track from Barbara's studio album of that year, 'The Right Moment'. Barbara inherited a love of classical pieces from her mother and the programme uses Dame Janet Baker's performance of the aria as a starting point for Barbara's own version. Barbara wonders if it is possible to change the aria to fit her style of singing, but can she get the top notes? She visits the celebrated singing teacher Ian Adam, whose pupils over the years have read like a Who's Who of Showbusiness. The programme also seeks the advice of respected soprano Sheila Armstrong, who comes across as the Miriam Stoppard of high culture, but who gives some very sensible advice on the technique required to sing such a difficult piece.
'MacCrimmon's Lament' is used as a fine example of Barbara's ability to sing totally naturally in her own repertoire and she gains a certain amount of praise from Armstrong. Perhaps the high point of the programme's set musical pieces is a recreation of Mrs Johnstone in 'Blood Brothers' as Barbara gives us a stunning 'Easy Terms, proving beyond a doubt that she is the definitive Mrs Johnstone and just why she was voted Best Actress for the show just a couple of years before.
In contrast to the operatic piece, Barbara is also tempted to perform a lullaby by the Spanish composer Manuel de Falla entitled 'Nana'. This has an almost Arabic flavour, but once again the Dickson talent is not to be outdone as Barbara makes the piece her own. After more vocal training from Adam, the final moments of the show see 'Que Faro' performed in all its orchestral glory. Barbara's upper register is strong and skilful - the mighty talent that is Barbara Dickson triumphs once again.
The programme is unique as it treat's Barbara's voice as a serious talent, and she too sings about the technique of singing with great insight and depth. It is a great pity that this programme has never been repeated in the UK, as it remains perhaps the definitive example to date of Barbara's enormous talent and its ability to tackle virtually any area of popular music.
