L
lemonbeam
Guest
Not many debut recording artists have the courage to make a concept album. But it would be fair to say that Pope Benedict XVI has ideological weight behind his Alma Mater, formed around the chants that have been intoned in St Peter’s Basilica for centuries.
The Pope’s Christmas album, released on November 29, is the first record to feature a singing pontiff and is likely to give the likes of Bob Dylan, Sting and Tori Amos — all hoping for seasonal success this year — a run for their money. Alma Mater could be an even bigger hit than Abba Pater, a 1999 record featuring John Paul II, Benedict’s successor, reciting the rosary to music.
The basic nucleus of the album may be austere and uncomplicated but not much else about Alma Mater is simple. It cannot be ignored that each of the participants was in a different place when the music was recorded: the Pope was preaching around the world, intermittently being recorded by Vatican Radio; the choir was in St Peter’s and the orchestra pouring out a veritable vat of syrupy effects (our Royal Philharmonic) was in Abbey Road studios.
Read more: entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article6911641.eceThe result is not quite an unholy mess but it comes close. Surprisingly, it is the lead vocalist, once nicknamed “God’s Rottweiler”, who impresses with a baritone that never barks and whose fatherly cadences cleave to his multilingual prayers with a gentle authority. Only when he actually sings (fleeting phrases in the Regina Coeli) do you experience that slightly distressing effect of standing in a pew next to the elderly relative who really should not be hooting along quite so loudly.