Jane Olivor stunning in SPAC performance
by Matthew Maguire, The Knickerbocker News, August 19, 1980
It takes more than a great voice to make a great singer. In the maturation process, the would-be singer must subtly and precisely address many non-vocal issues, not necessarily musical and rarely obvious to the casual auditor.
Cabaret singer Jane Olivor has a great voice; anyone can discern that within eight bars. But it was more than a great voice behind her stunning two-set performance Monday night at the Saratoga Performing Arts Center, a performance that elicited several well-warranted standing ovations by an enthusiastic crowd of Olivor fans.
The challenge of a Jane Olivor concert is pinpointing what makes her show so much better than those of singers with comparable voices, but inferior stage work. In the end, one singles out sound and subtle musical judgment as the difference.
Take “color” instruments, for instance. These days, too many pop arrangements feature only huge, cliché-ridden string sections or electronic “string ensembles” to color ballad accompaniment. Ms. Olivor eschews the trite in favor of a recorder, oboe, flute, acoustic guitar, triangles and other underused percussive toys.
With this refreshingly novel accompaniment, Ms. Olivor soars through tunes from her four albums. Her singing style reflects elements of Broadway singing, 1960s folk music, gospel, rock ‘n’ roll, and even disco, without indulging in the excesses of any of them. Singling out a highlight would almost demean the rest of the program, but it is difficult to recall anyone so brilliantly revitalizing Rodgers and Hammerstein’s tired “Some Enchanted Evening.”
Maintaining a good pace in the program is another area where Ms. Olivor’s judgment stands out. She moves briskly from tune to tune, alternating passionate love songs with a pleasantly surprising measure of upbeat tunes.
Others may sing as well, but few others select such good material, demand such original accompaniment and present the product so well.
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