I’ve never liked the term “crossover.” It makes it sound like such a big deal—a rite of passage almost, or at least something that requires a roadmap and a visa. Why can’t we just have classical singers doing popular music (also the other way around, though that’s rarer) working with their own sound and instincts to explore another idiom?

I like to think Leonard Bernstein would agree with me—he was, after all, the King of (oh, alright) Crossover…

Read the full review at Parterre Box.