The world’s best selling soprano of all time returns with the outstanding early 2008 release Symphony, an iconic collection of music that may well be her best full album to date.

Brightman was first introduced to me by my wife, and what followed was an exhaustive musical discovery of the gifted English singer. I was immeasurably impressed by Brightman’s catalogue of albums and songs, ranging from the deep pop of 1993’s Dive to the Middle Eastern tones of 2003’s exceptional Harem. It was with great eagerness, then, that I awaited 2008’s Symphony.

Symphony is an affectionate album and is profoundly personal, much like her other works. This is Brightman’s first studio album in five years and it was certainly worth the wait. The inventive entertainer is on point with every track on this incandescent album, singing with crystalline precision and fervour all at once. Brightman never over-sings, and avoids the cheeky pomp and circumstance of many of today’s modern pop stars. Instead, Brightman is calculated and the consummate professional.

Symphony opens with a succinct introductory track, entitled “Gothica,” that introduces us to the tapestry of sound we are about to partake in. From “Gothica,” we are treated to the stirring symphonic strains of the rock-edged “Fleurs Du Mal.” This track is one of my favourite tracks from the album and Brightman’s tones on the tune are downright scintillating and almost sexy. The effervescent rock guitars combine pleasingly with the strings, creating an idyllic rock opener to the album.

From “Fleurs Du Mal,” Symphony slows the pace and delves into the subtle title track. “Symphony” is actually a cover track, with the original performed by German band Silbermond in 2004. Brightman penned English lyrics for the tune and the result is an emotive, broad ballad. Following “Symphony,” is the affectionate “Canto Della Terra,” which is a duet with the marvellous Andrea Bocelli. This track is about as musically sound as one can find in any composition on a contemporary pop record, as Bocelli and Brightman meld skilfully together.

Following the duet with Bocelli, the ethereal beginnings of “Sanvean” take over and the tranquil strains of the strings coupled with Brightman’s radiant voice swell and retract gently. The song feels a lot like breathing, elegantly pulling in and out with melodious enchantment. “Sanvean” was penned by Lisa Gerrard of Dead Can Dance and is sung in a pseudo-language like most of Gerrard’s pieces.

“Sanvean” gives way to “I Will Be With You,” the closest thing to a 1980s pop duet. Paul Stanley from KISS sings along on this track and the hand-waving tune is just the thing at this point. The song, also known as “Where the Lost Ones Go,” is a cover of Norwegian singer Sissel’s track from 2001. Stanley more than holds his own and the track is a pleasure.