“Classical ... Barbra” by Barbra Streisand (1976)

This, quintessential vanity project, had raised lots of eyebrows back in the mid-1970s when classical crossover have not been such a big phenomenon as today. Sure, from the very start of recording industry operatic stars were recording occasional hit single with popular folk or Broadway tunes and in the golden age of Hollywood musicals there were quite a lot of singers joyously romping trough Cole Porter and Gershwins, however it was mostly classical artists doing excursions into pop and not much of the other way around. When people like Tony Bennett or Della Reese had hit single with adaptation of classical piece into torch ballad, it was always a gimmick and never full-blown excursion into classical repertoire like this one. It took the massively successful, Broadway-star-turned-pop-juggernaut-and-movie-power to use her clout and release what seems like adventurous career step into completely different direction that nobody expected. Don’t forget that at this point Barbra Streisand was untouchable and everything this lady did had Midas touch, be it sold-out Broadway shows, TV musicals, movies or hit records so when she decided to do classical, Columbia Records probably counted on her huge fan base to support it as usual.

Enjoyable as it is - Streisand was always skilled vocalist and seemingly incapable to sing a wrong note - I can’t help but to feel hint of certain upward mobility process here. Looking back, it seems that everything she did once she conquered the world as a gawky comedienne in “Funny Girl” was result of constant desire to prove it to herself and to the world that she is actually serious artiste and all the awards in the world could not heal those early psychological wounds. Why else would a jewish girl from Brooklyn suddenly pose on cover of “Vogue” and sing French chanson (in French!) which coincidentally probably lead to this album of strictly hardcore classical art song? Fine, yes, she could do it and even reviewers at the time grudgingly agreed her classical album is nothing embarrassing after all - wrapped in a dreamy, symphonic arrangements courtesy of Claus Ogerman, songs selection is fine and Streisand carefully avoids any operatic thrills, going for pure tone of schoolboy choir instead. Because material is so different, she completely leaves 1960s bombast behind and goes very calm and serene, which in process presents completely different artist - it is actually surprising how well it all works, considering she is not classically trained singer.

It must have been very confusing for her regular audience (as much as for classical music lovers) and along with some eccentric choices of music in her TV shows, it must be the most surprising part of her music catalogue. Streisand passed the test with flying colors and in turn her younger fans heard some of these pieces for the very first time. Come to think of it, this must be the only album of pop singer doing classical music that I actually accept.