Adele

During the Carnival of Venice in 1637, a play ‘rappresentata in musica’ was opened to the public for the first time – a success. Opera was born and spread like wildfire. Venice had the largest number of theatres in the world. In 1677, the Teatro Sant’Angelo opened its doors on the campo of the same name. Tiny, chaotic, cheap and extremely productive, it was renowned for its musicians and its sets. This effervescence owes much to the figure of Vivaldi who, from 1705 onwards, regularly premiered his operas there and acted (with his father) as impresario.

With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone…

Adele's 2009 debut album, 19, was a Grammy-winning smash hit that revealed the British singer/songwriter's knack for bittersweet soul and folk-infused love songs that brought to mind an infectious mix of Dusty Springfield and Terry Callier. The album earned her a ton of fans, and interest was high for the inevitable follow-up. In many ways, her sophomore album, the similarly age-appropriate-titled 21, is a continuation of the sounds and themes Adele was working with on 19. She is still the bluesy pop diva with a singer/songwriter's soul and seemingly bottomless capacity for heartbreak.

Since 2008, Adele has allowed listeners to peek into her world, carrying them through the major stages of her life as a shoulder to cry on and a relatable presence. With her fourth set, 30, she grants more access than ever before, detailing one of her most painful seasons with poise and grace. Charting the aftermath of her 2019 divorce, 30 is not a fiery breakup album. Rather, focusing on acceptance, growth, and owning her mistakes, she's created a time capsule for her son, Angelo, to understand what his mother was going through at this pivotal time. After the curtains part on the dramatic, Judy Garland-inspired overture "Strangers by Nature," she addresses the split with "Easy on Me," redirecting her focus as a plea for patience and understanding from her son. "My Little Love" interpolates their intimate conversations atop smoky R&B production that echoes early-2000s Alicia Keys.